Toni Ahvenainen
A Noctuid
There is something that ultimately attracts me in the darkness. Wandering around empty black streets and subsiding further into dark I feel like a noctuid searching for a single sources of light. The maximum black is the ultimate reducer which can enfold any kind of scenery and turn it into a dark mirror that forces the viewer to complete the image with his own mental images and psychological feelings.
These kind of pictures are something I love to do with my concept of 'the dark frames'. I want to take a piece of a mundane everyday reality and carry it to a liminal state where dream and reality encounter – and yet I never across the idea that 'photographs don't lie'. I believe that the greatest strength of the photography as an unique form of art lies in the idea of authenticity – even if it has been dismissed countless of times. We look photographs as a representations of the reality and using that presumption in a subtle ways to affect the viewer is often enough for me. It's a picture of the lamp on the wall, but when you look it long enough all kinds of interpretations start to emerge from the darkness. And within this everlasting darkness of the mind I'm a noctuid searching for light sources that could illuminate the subliminal and make it visible in the images they call photographs.
Days of Zeiss: www.daysofzeiss.com
A Noctuid
There is something that ultimately attracts me in the darkness. Wandering around empty black streets and subsiding further into dark I feel like a noctuid searching for a single sources of light. The maximum black is the ultimate reducer which can enfold any kind of scenery and turn it into a dark mirror that forces the viewer to complete the image with his own mental images and psychological feelings.
These kind of pictures are something I love to do with my concept of 'the dark frames'. I want to take a piece of a mundane everyday reality and carry it to a liminal state where dream and reality encounter – and yet I never across the idea that 'photographs don't lie'. I believe that the greatest strength of the photography as an unique form of art lies in the idea of authenticity – even if it has been dismissed countless of times. We look photographs as a representations of the reality and using that presumption in a subtle ways to affect the viewer is often enough for me. It's a picture of the lamp on the wall, but when you look it long enough all kinds of interpretations start to emerge from the darkness. And within this everlasting darkness of the mind I'm a noctuid searching for light sources that could illuminate the subliminal and make it visible in the images they call photographs.
Days of Zeiss: www.daysofzeiss.com