.... if you have big idea no need sharp picture...I'm freelancer designer based in Košice, Slovakia
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The mind blurred
Film: Agfa CT Precisa (crossprocessed) Camera: Lomography Lc-a
From the vaults — September 2007
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Abandoned ©
(self portrait-5 years ago-Athens)
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el universo de mi imaginación | víctor m. alonso
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Vogue Italia, March 1997.
Ph. Paolo Roversi
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Jean-François Flamey / Nim Is A Tree Website | Tumblr | Instagram
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SATURATION XV
film-photography
edition 05+03AP
2024
instagram
For years, my photographic work has been concerned with destabilizing the limits of imageability. Like sponges hitting water the individual pictorial elements seem to absorb each other.
I understand saturation in the sense of Jue/Ruiz, as a way of developing sensibilities for co-presence transformations and/or processual shifts that goes far beyond the hydrological origin of the term.
Sometimes my works show playfully overlapping inner and outer perceptions.
Sometimes these delimit each other in a stormy, almost cannibalistic manner.
Sometimes small details only hint at a seemingly unreal view or perspective.
Sometimes the dissolution of dream and reality is communicated far more superficially and directly in the visual language.
All these visual forms have one thing in common. The will to evade the urge to immediately grasp and objectify what is seen.
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SATURATION XXVII
film-photography
edition 05+03AP
2025
instagram
For years, my photographic work has been concerned with destabilizing the limits of imageability. Like sponges hitting water the individual pictorial elements seem to absorb each other.
I understand saturation in the sense of Jue/Ruiz, as a way of developing sensibilities for co-presence transformations and/or processual shifts that goes far beyond the hydrological origin of the term.
Sometimes my works show playfully overlapping inner and outer perceptions.
Sometimes these delimit each other in a stormy, almost cannibalistic manner.
Sometimes small details only hint at a seemingly unreal view or perspective.
Sometimes the dissolution of dream and reality is communicated far more superficially and directly in the visual language.
All these visual forms have one thing in common. The will to evade the urge to immediately grasp and objectify what is seen.
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