Solid Maze of all that's left untold.
André Brothers| N° d'inventaire | 32155 |
| Format | 24 x 33.2 |
| Détails | 160 p., bound |
| Publication | Marseille, 2025 |
| Etat | Nine |
| ISBN | 9782492696183 |
French/English book
Based on intuitive and surreal narrative, Piotr Zbierski's photographic series constantly question the relationships between nature and culture, between memory and narrative, and between experience and storytelling. His photographs also establish a link between material reality and a broader spiritual understanding of the world. His works, highly poetic and pure emotion, invite meditation by probing the depths of the human soul and the mysteries of life and death.
Today, I increasingly think of photography as a river whose two banks are present at the same time. The first is stories—well-constructed, well-thought-out narratives, translated through good design in order to be seen.
On the second bank is the warehouse of negatives and contacts. Here, the story is open, like the act of speaking, which only here has a chance to become similar to listening. Moreover, in our case, photography is no longer just a question of love or honesty, but also a question of time. The temporal environment seems to be the only story worth relating to, as Julian Barnes wrote: Our life is not our life, it is just a story we tell ourselves about life; we tell it to others but especially to ourselves.
French/English book
Based on intuitive and surreal narrative, Piotr Zbierski's photographic series constantly question the relationships between nature and culture, between memory and narrative, and between experience and storytelling. His photographs also establish a link between material reality and a broader spiritual understanding of the world. His works, highly poetic and pure emotion, invite meditation by probing the depths of the human soul and the mysteries of life and death.
Today, I increasingly think of photography as a river whose two banks are present at the same time. The first is stories—well-constructed, well-thought-out narratives, translated through good design in order to be seen.
On the second bank is the warehouse of negatives and contacts. Here, the story is open, like the act of speaking, which only here has a chance to become similar to listening. Moreover, in our case, photography is no longer just a question of love or honesty, but also a question of time. The temporal environment seems to be the only story worth relating to, as Julian Barnes wrote: Our life is not our life, it is just a story we tell ourselves about life; we tell it to others but especially to ourselves.