We are oversaturated with visual perceptions and stimuli. They attack us from around every corner, lure us and pull our gazes, flow into us from an infinite number of screens. We find in them the culprit of the distraction of our attention, the feeling of wasted time and any dissatisfaction in our lives. We get carried away with them on endless escalators of trends that take us nowhere. The logical counter-movement is then stopping the view, slowing down the time, fixing the frame, turning off the zoom. We apply the emergency brake and, despite the interest in the necessary minimum of basic communication or imaging procedures, we get not only the essence of photography or photographic effect, but also the tangibly beautiful, which we are not afraid to relate to (despite all the overcrowding and cynicism). Conscious use of the simplest photographic principles (such as shallow depth of field) seems to paradoxically return lost contours to photography. Maybe it's time to bring the term "photogeny" back into play. Give it new contents. For example, touching by sight.
The exhibition entitled Extensions is a metaphorical portal that takes the viewer not only to the stage but also to the staged backstage. The display in the imaginary "front" inherently creates a manipulative environment; the behavior in the "backstage" is closer to the real self. It is here that the communication of something beyond the impression given by the scene can be carefully constructed. In the case of Extensions, the viewer is free to choose which of the situations becomes for them an extension of one of the two acts presented, without the primary features of either polarity being imposed upon them.
