As time goes by memories fade away. What once was sharp, crisp and vivid in our minds, gets blurred.  Shapes and colours disappear. No matter how hard we fight. Bits and pieces are gone to never come back.

With Fading Memories I try to visualise this feeling of losing the details. Time has been put to a stop. Details are gone. The images take on a dreamlike surreal atmosphere.

But even the most fragile memory can bring back the whole story. And most of the time, we will remember what is forgotten more beautiful - if

it was tough or hard, softer - than it really was. It's what we do. It's how we survive.

In Fading Memories, I know the story behind the image. The place. The time. The people. You don't. Thanks to what you don't see, the images suggest more open stories than the ones I know. More open stories than they would do if the images were intact. So your mind will create your own story. Immediately. Don't stop it. Have Fading Memories challenge your imagination.


No place like home is about seeing beauty in the world immediately surrounding us; a few words in a book that had an impact on our life, the shadow-play on a wall on a sunny day, a present for a daughter, left behind when she left home long ago, …

It’s about the she silent and discrete beauty of an object, the artistry of

 a scenery we forget to see. It’s about the stories these observations ignite in our heads when we isolate them. It’s about living more consciously and discovering continuously the  beauty and power of simple details immediately around us that make life, our life.



You ask me why I nestle in the green mountains.

I laugh but answer not - my heart is serene.

Peach blossoms and flowing waters go without a trace.

There is another heaven and earth beyond the world of man. 

LI BAI (701-762)

“For years I've been photographing to create something beautiful, images that move people.  Photography in which one can discover initially hidden layers, photography that one can experience again and again.  

In my Transcendental Tranquility project, it's seascapes, distilled to their essence, authentic without any post-processing. Sometimes the oceans are no longer recognizable and they become Rothkosian color impressions, but the goal is not to show an ocean. The point is to create a scene that generates a state of calm in which what is perceived as

troublesome in the psyche falls away.  

I see the Closer To The Gods project as the antithesis of the Transcendental Tranquility project. It originated in Covid times when photographing oceans became impossible due to the closed borders. Like quite a few photographers, I fell back on previously created material; the inhospitable plateaus and glaciers of Iceland, the mountain landscapes of the Pyrenees and the high altitude deserts of Ladakh.

In Closer To The Gods, these are portrayed hard and directly in powerful, high-contrast black-and-white photography. Nature does not invite here, she imposes. Compelling, ominous, at times almost menacing. It is a nature that impresses and often looks as if it could insidiously swallow and crush us at any moment.  

In the layered photography of Transcendental Tranquility, however, nature does not impose itself, it invites us to drown in it and regain a tranquility that we so often lack today.”

Published in #18 of the ALL ABOUT PHOTO MAGAZINE showing the 25 best BW photographers - wordwide competition

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