IN PLACES

What inspired you to start working on the project?
I was born in 1982 and my rst 20 years were green. Fields and forests were my childhood. I moved out of my home town to a di erent one. And a di erent country. O ces and places not personal to me became my life. I started to feel isolated.
A car became yet another home of mine. Lonely drives created a “bridge” between “my places.” Being in one I was missing the other. In Places represents my search for home. By taking photographs while driving I am exploring myself – my fears, my identity, and most importantly, my desperate need to de ne what the word “home” really means to me. It became a therapy for loneliness.

How did your work progress before you made the final version of your project?
Maybe this still isn’t the nal version. I continue to live a life between a couple of places. I understood the nature of me photographing In Places a er more than 5 years. And that certainly brought clarity into the cycle. At the beginning, I was planning to show the places where I spent my time. A majority of the photos were shot on the move, many of them in a car moving at high speed. Recently, I have been more selective, taking many static shots.

What is the central message you wish to communicate?
Can we live one life in many places? Can one life be lived in many places in parallel? Is driving the way we connect places or is driving the life itself? I am forcing myself to answer these questions. I do this work to understand myself in the rst place.

What photographic language do you use in your photographs and why?
The key form is the frame of the windshield. The frame is my shelter. It is visible in all the photos because this is how I saw my world from the car between Belgrade, Sarajevo, Bratislava and Warsaw during more than 7,500 hours over the past few years. It would be faking not to show it.