I began documenting
my life seven years ago, frame by frame, creating my own visual
diary. Starting with the very close to me — my body,
my bedroom, life as a student, thelandscape from my kitchen
window — continuing to my family, my boyfriend and my
friends. This is my story.
The camera invaded my life, and with the intimacy of the
snapshots I succeeded to capture an emotional moments: family
getting together, intimate moments with my boyfriend, in front
of the mirror, taking a bath, making up. People around me
started to feel less threatened by the presence of the camera
and took it as a part of me.
As curators of our own family album, everyone has the ability
to identify himself in my pictures, to become a part of it.
In our lives, we are all a kind of documentary photographers.
We capture our family, ourselves in a photogenic poses, and
we edit those pictures in a beautiful album. My document presents
the ‘ugly’ near the beautiful, the scar, food
leftovers… I’m trying to cease life as it is.
As part of the photographs' subjects, I point the camera
toward myself as to my friends and family. I take both parts:
the observer and the participant. Trying to connect my artwork
directly with my life, I’m creating a social document
through a personal experience, turning my private life to
The pictures are edited into a book format, giving
another level of intimacy.
Editing the images is a major part of this intuitive snapshot-taking.
I find the book an intimate format; the observer is capable
of going backward and forward trough the pages, to keep it
to himself. The book's single images are a part of a whole
narrative. There is no chronological order, but time has an
important meaning in the narrative, the sense of history -
each picture is titled, the title gives the information about
the time and the person.