INNER LANDSCAPES / 2018

This project examines the relationship between the observer and the observed landscape through a veil of melancholy, engaging with the philosophical problem of subject and object. It asks whether reality exists as an autonomous entity, independent of perception, or whether it is always refracted through consciousness, becoming part of the self. The landscapes are conceived as moments in which the boundaries between interior and exterior dissolve, transforming the visible world into a mirror of psychic states.

The choice to photograph landscapes through frames—windows, apertures, or obstructed views—anchors this exploration in the act of looking itself. By situating the viewer within a mediated perspective, the images acquire intimacy and immediacy: one not only sees the landscape, but experiences it as if through another’s gaze. The use of imperfect or “dirty” surfaces as filters lends the work a quality of opacity and blur, evoking the indistinctness and heaviness associated with melancholy.

The motifs are open spaces, skies, and paths—railway lines, roads, or vanishing horizons—where contours blur and the horizon dissolves into the sky. These transitional zones suggest both passage and uncertainty, a continuum rather than a fixed point. The photographs are taken under overcast skies, rain, or subdued sunsets, where light is soft and unstable. Through post-production and grading, atmosphere and subjectivity are further intertwined, adding an additional layer that destabilizes the distinction between external world and inner vision.

In this way, the landscape becomes less a neutral scene governed by physical laws and more a projection surface for intimate states of mind—an image of melancholy that is both deeply personal and universally legible.