The project “Accidents are not accidental” 

film photography 
 2013 

 This project was born out of my annoying question: what remains of our own — human, unpredictable — in a world where everything seems calculated, planned, tracked? I decided to sabotage my own control. I took one reel of medium-format film. At first, I methodically, almost like a cartographer, took pictures of Rome — its stones, shadows, and the flow of tourists. Then, without rewinding, I shot London with the same film — its rains, the sky in a grid of wires. I deliberately left the result at the mercy of chemistry, light and pure chance. How will these two cities fit on top of each other? What new, third, reality will be born in this marriage of images that I could not have foreseen? The case here is not a mistake, but a co—author. He didn’t destroy my shots—he stitched them together into something third, not Rome or London, but a ghostly hybrid city that exists only on this film. Why did I choose a film instead of a number? She is a physical witness to an accident with an irreversible process. The figure is too predictable, my experiment is about surrendering control. The imposition of a self—portrait is a gesture of voluntary loss of control: my “I”, when faced with others, creates a third image — which does not belong to anyone. The question of the project is not whether the case is strong. The question is, can this blind game create value that you don’t plan for? And what does this say about our planned life? These double frames are my experiment. They are the tangible proof that chaos doesn’t just exist. He can be generous. He can give us a Roman pigeon sitting on a London gentleman’s hat. And in this absurdity, there is a strange, uncontrollable truth about the world that I was looking for. The power of chance is not in luck. It’s in his ability to be a generator of unexpected meanings when you let go of control.