This series of photographs is viewed as an octaptych, as a single but still segmented line of work which came into being while traveling on train. The photographs were made in a short interval, lined up in reverse order as they explore the viewer’s position in time and space in regard to the environment wherein he traverses.  

The photographs reexamine the perception of time for one moving in one direction, that is in regard to someone’s opposite trajectory or someone’s relative stagnancy. From that point of view, it is reckoned that each party has its own perception of time caused by the speed and direction thereof, that is with the very existence in space. To a person moving in one direction the others are seen as moving in reverse, into the past, or they appear to be stagnant in time. That might be almost the case if we measure time by moving through space, creating an illusion that time is within space and is subject to it.

It’s the quite the other way around. Space is in collision with matter, whereby time impacts the space- it transforms it.

Man himself is made to be subject to time though matter.  

Photography has ability to freeze the moment in time, that is, to remind on the state of space in a particular moment which apart from photography only human memory can accomplish in immaterial world.

Soul is immaterial and she resides in space only when it’s present in time as well.  

Apart from time, the soul is free

Ova serija fotografija posmatrana kao oktaptih, kao jedan, ali segmentirani rad, je nastala prilikom putovanja vozom. Fotografije su  smimljene u kratkom vremenskom intervalu, od zadnje prema prvoj u nizu na koji su poređane, istražujući poziciju posmatrača u prostoru i vremenu u odnosu na okoliš kroz kojeg se kreće.

Fotografije preispituju percepciju  vremena za nekoga koji se kreće u jednom smjeru u odnosno na nečije suprotno kretanje kao i  nečije relativno mirovanje u prostoru. Sa te tačke gledišta dojam je da svaka strana ima svoju percepciju vremena uzrokovanu brzinom i smjerom kretanja odnosno samim bitisanjem u prostoru.  Iz ugla jednog, koji se kreće u jednom smjeru, ostali se kreću unazad u prošlo ili  pak stoje u vremenu. To bi gotovo bio slučaj ako bismo mjerili vrijeme kretanjem kroz prostor, stvarajući iluziju da se vrijeme nalazi u prostoru i da mu je podređeno.

Upravo je suprotno. Prostor je u sukobu sa materijom, preko koje vrijeme djeluje na prostor – transformiše ga.

I čovjek je preko materije podložan  vremenu.

Fotografija ima mogućnost da zamrzne trenutak u trajanju vremena, odnosno da podsjeti na stanje prostora u određenom trenutku, što osim fotografije ui nematerijalnom može uraditi još samo I ljudsko sjećanje.

Duša je nematerijalna I ona obitava u prostoru samo onda kad i vremenu.

Van vremena duša je slobodna.