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"Eddie: You know, it's funny. You come to some place new and, and everything looks just the same"
Jim Jarmusch 1984, Stranger than Paradise


I have photographed these places for the last six years; during this time I have experienced the landscape in ways I wouldn't want to transmit in a photographic form. The smells, the wind, the rain, the smoke, the company, the cold and the warm weather, and the people who stopped me to ask me what I was doing (just out of curiosity or for other more obscure reasons). All of these experiences are invaluable to me. I have grown as a photographer and as a person. However those experiences are mere anecdotes and nothing to do with the ideas behind this project. Indeed, if I don't tell these anecdotes, then they would surely remain unknown to the viewers. The experiences and the consequent opinions and feelings I have of these places are part of what I think and feel about them.

In order to allow the viewers to bring their own experiences into this collection of images I have endeavoured to empty them of mine. I have let the white blank snow cover every inch of my photographs and to take away all the information that was unnecessary (my anecdotes, my experiences, my feelings). The photographs then, I hope, become empty landscapes, places of inner immensity where we can wonder with our eyes from side to side and back again and find our own daydreams. Thus, we become the architects of these internal spaces, creating our own world of meanings and functions. These images are just moments of inspiration that escape even before we realize they were there in the first place.

The roundabouts, the hotel rooms, the out-of-season resorts are vacant spaces with multiple utilities. On the one hand the obvious functions they have been designed for and on the other hand anything we can imagine.


'Immensity is within ourselves' (Bachelard p.184)

UNTITLED 2006 - 2007
classrooms
closed for winter
familiar landscape
fire drill houses
landscapes
life is a dream
metamorphosis
parasols
roundabouts
what we don't see
FOUR CORNERS