The photography Moon Walker was created after my visit to Büdingen, Germany, where I was captivated by the architecture of the old town. The unique atmosphere of the castle rotunda left a particular impression on me, inspiring the mood of this piece. In this series, which is divided into five parts, I sought to encapsulate various stages of my conceptual process, exploring how each step contributes to the overall narrative of the work.

The opening image of the winning series, as I often describe it, is “pure photography.” Here, I engage minimally with the photograph—merely seeking the perfect placement of the subject and making minor exposure adjustments. It’s worth noting that the figure in this image is real; I captured it during my visit to Dallas, USA, in April this year. The second photo delves deeper into creative expression, employing specific techniques to blur the boundaries between reality and surrealism. Moving into the third part, I present a collage that represents my recent explorations in abstraction, a theme I have passionately pursued over the past year as I continue to redefine my artistic voice. Over the past five years, my focus has shifted more towards black-and white photography, while color has taken on a supportive role, utilized only when the monochromatic version fails to evoke the intended impact. With Moon Walker, I immediately sensed that a black-and-white rendition would best capture the atmosphere, a decision that was instant upon photographing the scene. This process mirrors my approach to Alone, a 2020 photograph of a monument in Berlin, where I knew from the start that a black-and-white palette was the only option to convey its message. Typically, I begin with a central image, developing a supporting series around it to deepen the narrative. Working with single images feels restrictive to me, as I thrive on creating layered stories. Although this approach can sometimes result in an impression of scattered ideas, it fuels my creativity, allowing each piece to come alive in its own way.

I believe my style has always been an inherent part of me—something I didn’t consciously cultivate but gradually unearthed. My journey began in portrait photography, but around 2020, I felt a need to explore new avenues of expression, which led me to abstract painting and conceptual photography. This period marked a turning point, prompting a shift in my creative vision. Initially, I drew inspiration from travel photos taken before 2020, gradually adapting them into a minimalist aesthetic focused on clean, reduced visuals. My early work still contained ties to reality, often enhanced by added elements like figures or abstract details. Eventually, I felt I had exhausted this approach and sought a new direction, which led me to my current phase of creating collages. These pieces combine real photographs manipulated in Photoshop to construct imaginative worlds that blur the lines between the real and the fantastical. Now, my work balances these two realms, creating a space where both coexist seamlessly. My abstract painting, on the other hand, fulfills a different artistic need, allowing me to delve into shapes and structures without constraints. This process complements my photography, and together, these pursuits define my unique artistic style today.

It’s intriguing that this sense of solitude comes across, as it’s something I hadn’t explicitly considered. However, lately, I realize it does reflect my current way of life and creative expression. The solitary figure in my images embodies a kind of purity, offering viewers the space to interpret their own stories within the scene. This ambiguity is something I enjoy, as it allows each viewer to project personal meanings onto the work. However, these figures aren’t entirely alone, at least not from my perspective. Much like in my life, these characters often have subtle companions small, almost hidden presences that accompany them. These elements add balance to the composition and provide a quiet sense of presence, even if they are understated. This duality speaks to my personal perspective on solitude, suggesting that while we may appear alone, there are often unseen forces or connections that provide us with balance and companionship.

To be honest, I try not to consciously take inspiration from other artists, as I want to keep my own creative path clear. I don’t have a specific inspirational figure that guides me. However, I did visit a few galleries this year, and I have to admit that some works left a mark on me—even if I might not want to admit it right away. These experiences have influenced my work to some extent, both in my painting, where I explore abstraction, and in my creative and conceptual photography. Certain fragments of inspiration come from people and artworks I’ve encountered in cultural spaces. Still, I don’t have a single artist or piece that serves as the main influence on my work.

Sebastian Salgado and Salvador Dali.

This year, I worked on numerous projects, for example my series Alice in Wanderland, A Backpacker series and including the award-winning Moon Walker. I’m especially pleased with the Walker in Dallas series, which I captured using long exposure to create expressive motion blur. I used a similar style two years ago for the project The Streets. Overall, it’s been a very productive year, and while I may not start many new projects before it ends, I’m excited about new creative possibilities with the drone I recently got. I’m also finalizing my sixth photobook titled Moon Walker – a limited edition featuring approximately 60 photographs from the Walker series. Next year, I’ll be continuing my long-term projects, The Censored Face, which I started in 2016, and Sidewalks, which began during the pandemic in 2020. Both projects are very meaningful to me and are still evolving.