Transience means ‘impermanence’, the ephemeral of the 10.000 things under the same sky. By its very nature the world is ever changing and devoid of real substance, subjected to the passing of time that dissolves what we consider solid or real. It is a name fitting this project, because the images themselves depict a world that has no fixed form, in which light bleeds from one shape to the other.
In this way, more than writing with light, I am painting with light. Because one of the defining things that places a photograph as being an artifact depicting a slice of reality, a copy of reality in a way, is the clarity of the lines and all the details that resemble the thing actually photographed. I wanted to change all that. I wanted something different but sincerely straight from the camera.
Now, contemporary photography has a lot of types of expression, be it social or staged or studio or landscape – but no matter the genre, all share something: the crisp outlines, the clear texture, the defined edges of the objects of reality. I wanted to do away with all that, to make from a photograph a painting that no longer depicts reality as it is found in any mechanical rendering, by pressing that button of the photo camera. When there are no more territories to be discovered, we usually invent them anew.
This has been a long journey and adventure, I have travelled in many locations: Venice, Bucharest, Barcelona, Rome, Kyoto, Paris and many other small cities in my own country. To me, the city has the unseen mystery of old forgotten civilizations, an air that resembles a dwelling of ghosts, a depiction of the fabled citadels of light. I use the ICM technique as I search for the universal, the persona, people are rendered with no name or face, streets and cars lost in fog, light reflecting and leaving glowing streaks behind as I move the camera to capture the ephemeral: here, time is never frozen, just slowed down.
And so I came to what today I call Transience - a long-term project spanning over five years, using intentional camera movement technique (that is, physically moving the camera in different ways while taking a picture with a long exposure) to achieve true impressionist photography at a level seldom reached in the past.
The photographer's 'stroke' (as in painting), the colors obtained with special filters, all this aims to bring a touch of magic to the world of the straight, clear photograph, a touch of 'what if that is a photo and not a painting" or 'I wander how he does that'. A small tingle of wonder in a world where almost everything has been already photographed.
My goal was to photograph reality in a way that it no longer looks real, palpable, but more like we are made of mist, particles or light waves. A photograph that depicts reality in an unreal way.
Some people confuse the terms ‘contemporary art’ with those of ‘conceptual art’ and somepeople came to believe that visual art today is not valid if not backed up by a long andtedious theoretical discourse on the meaning of the actual image or artifact. Looking at apiece of visual art should no longer be enough, without reading two pages of complicatedtext? What happened to Katharsis, to wonderment, to reading the details of those hoursand years of work of the old masters?
I’m on the side of Tolstoi and Van Gogh, the first condemned the role and purpose of the socalled ‘high art’, which can be understood mostly by the artists themselves and some withspecialized education, bought and enjoyed only by the rich, a closed circle and a class ofsociety in its self, while the latter wanted his paintings in the homes of ordinary people andpeasants, the very people he lived among and painted as characters. His sunflowerpaintings, then unsold, now tens of millions, to be hang above the bed of people like you andme, that can bask in their beauty of color.
Now, contemporary photography has a lot of types of expression, be it social or staged orstudio or landscape – but no matter the genre, all share something: the crisp outlines, theclear texture, the defined edges of the objects of reality. I wanted to do away with all that,to make from a photograph a painting that no longer depicts reality as it is found in anymechanical rendering, by pressing that button of the photo camera.