I’m always haunted by the search of neutrality and objectiveness in photography, but the subjective nature of photography itself often denials my attempts. Since coming to Cranbrook, I’ve spent my time looking at diptychs, a set of two photos that are being placed together. Diptychs are endowed with the ability to create bridges for curiosity to lay upon, and curiosity is a gift to mankind, a gift without terms, a gift that happens “by nature.”

Here, There and Everywhere is my very first attempt of an installation based work. I view it as discussion about vision, an experiment about eyes, an anatomy of sight.

Where lies the testimonial side of documentation? Where lies the objective definition of a subject? Is interpretation in its nature autonomous? Does autonomous suggest objectiveness? Curiosity led me to ask these questions, despite Here, There and Everywhere is simply a journal of a space that once existed in time.

Patterns were sought, and my viewers were being threw into this maze of disorientation. But they eventually made peace, walking through exits created by themselves.