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 something public.

The Book
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.