While living in Switzerland, I deliberately shot around nuclear plants to record their ecology and human life. Using a pinhole camera and letting the focus area have some fuzziness, I want the viewer to discover the story behind the etymological preferences. After the grainy image emerges, I can hold the appearance to transfer the facts related to life. I'm wearing a face mask, and it is in the center. It looks at the shamelessness around our existence, which depends on taking radioiodine pills, which the Swiss government supplies to us periodically. Moreover, the regulation obligates the building builder to prepare enough bunkers for nuclear leaks. I'm worried about the future generations; I'm afraid for my twenty-five-year-old daughter.
Add: I was impressed by Robert Canali's explanation of their project, which created stages of virtual photo sessions during the COVID-19 pandemic. I'm letting their direct words: "... While the subject's stillness largely dictates how clearor "sharp" the image will be, I'm not looking to make the perfect portrait in any of these. There is not one more successful than another. I'm interested in the "in-between" moments, the moments we cannot control. The work comes to life when I turn the tablet over onto the paper and we both listen and wait in stillness in anticipation of something happening. I am simply creating the conditions for that something to occur".
