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The Anecdote of
the Boiling Frog.

The Anecdote of
the Boiling Frog.

The title alludes to Al Gore’s analogy of the frog who didn’t jump out of the boiling pot due to its lack of awareness, resulting in its death.

Similarly, I wanted to bring this metaphor, used to represent global warming, to the social arena of the 21st century. A century that prides on “freeing” humanity from poverty, hunger, diseases, wars, and inequality. Although, this is only partly true in 1st-world countries.

A philosophical debate between the Western concept of culture (which encourages a silent enslavement of the masses through the commodity) and the idyllic Eastern religion (based on moral stories and virtues) clash into a Yin-Yang dance to forge the ideal society.

The East, rooted in tradition gives a strong sense of collective purpose, while the West, uprooted from embedded traditions allows an individualistic approach to one’s purpose.

I chose Ratcliffe-on-Soar Power Station in Nottinghamshire for its rebellious history towards its existence and to the local authorities, who due diligently prevented it from being shut down on repeated occasions.

This gray infrastructure towers over the small train station and the surrounding dock, where families live in narrow-boats and small trailer homes.

Fathers still cast their lines into the warm foamy river with their sons just as their dads did with them when the rivers were clean, in 1968.
Iron, concrete and smog:
the backbone of our illusionary reality.


We live in a world shrouded by a beautiful veil of seduction eclipsing the truths that surround us. We only see what the gods want us to see. This is the world of Maya.

The supreme consciousness is kept hidden behind the veil of multiple illusions, of which we are constantly distracted by and call Ego. This fuels the illusion of a singular and individual consciousness.

This fragmentation has manipulated our species into believing, for millennia, in the illusion of a possessive power as an actual reality.

Through ignorance, we created Maya and accepted her illusion. As Schopenhauer said, “the world is my representation” as I experience, live and feel my emotions, I generate a subjective reality.

However, through contemplation, we caught the illusion and renamed her Aditya (absence of knowledge).

The duality of the goddess exists only through ignorance and acceptance of the Ego.

Except, we do not live in a world of Gods, rather in a world of humans that like to play Maya, alluding the imperfect reflection of a perfect world.

We created this currency that we bow down to and through ignorance, accept its reality.

However, the use of excessive attempted control over the real and digital world, enforced by political agendas, using methods of military and censorship, exposes the toxic illusion.

It’s time for us to jump out of the boiling pot.

Postcards from Puglia.

Postcards from Puglia.

Observing different urban infrastructure (such as houses, warehouses, car parks, offices, roads and city nodes) in various cities across Europe, made me realize how we utilize space and how we re-utilize buildings. This notion of waste and wasteful abandonment left an unpleasant bitter taste in my mouth, so I chose to explore deeper in the social and economic reasoning.

There more I looked, there more I more I felt I was falling into a nonsensical loophole. From the local council lacking regulatory power due to the free market, to the investor set to see juicy profits and to the end consumer, all seemed eager to mindlessly buy into the non-sustainable, and often bullish, materialistic capitalism.

I chose to locate my shoot in Italy, Puglia, as the Masseria captured that sense of simple farm-land families abandoning not only their identity but also their home, built by their ancestors. These beautiful vacant buildings (worth at times millions) capture an intimate moment of their crumbling history, representing a failed attempted towards a healthy and holistic society.

Self-Portrait
Documentary:

A Means and a Tool to Heal
The Embodiment of Emotions

Self Portrait
Documentary

A Means and a Tool to Heal
The Embodiment of Emotions

The aim of this project is to show how to notice the emotional weight on the body as well as the effects on the psyche and to provide simple tools to help individuals heal and grow themselves.

The project consists of a metaphysical approach to healing as well as an open mind towards unconventional psychological studies.

My hypothesis is that emotions imprint the physical body in unique ways, manifesting both within the body and on its surface through many signs. In this self-portraiture study, I will look at the embodiment of emotions by using various portraiture methods having the camera act as a gateway of communication between the external and the internal self. I am interested in developing self-healing techniques easily replicable through the use of photography.

First of all, it is important to understand that our personal growth and development has the ability to change both the mind and the body in relation to each other. This symbiosis is due to the exquisite relationship that the body has with the mind and vice versa as they form a conscious organism (Rockwell, 2006). Language (Rosenberg, 2005) and body language (Pease and Pease 2004) are the most common ways of observing these emotional changes. People express through different vocabulary, tone of voice, postures, and gestures according to their emotional response to an event whether it is a smell, touch, sound or visual memory.

The body, metaphysically speaking, is the physical representation of the soul or rather the tangible representation of the persona. By being more conscious and emphatic towards the body, acknowledging the emotional symptoms not as separate to the self but as a causation of a physical issue or problem, one observes a fluid relationship between the self and the body (Tomkins, 2008). Otherwise, the stress caused to the organism by emotional imbalances weakens the immune system depriving the body of vital energy to fight illnesses. Therefore, the elusive concept of emotions affects the physical external self and its biological construct (Lipton, 2005). However, western medicine still gives little attention and value to emotions.

Self-portrait photography lends itself as a powerful tool. Acting as a mirror, it places the self in a self-critical position reflecting the viewer’s intentions onto the image, allowing for a dynamic revision of the self. This is also due to the psychological, emotional and visual work done prior to the photo-shoot. Implying that the photographer has to be willing to acknowledge the symptoms and to initiate the process of healing the self. By being both the photographer and the sitter, the duality between these two roles merge together. This helps one to fall into a state of meditation, encouraging both an inner as well as an outer stillness. In this mind state, one is able to access deep seeded emotional memories that have fallen into the subconscious realm.

Tools such as exercising, creating, writing or listening to art are all forms of basic meditations. As photographers, these tools can be as simple as a heavy clumsy tripod. Due to stillness generated by the equipment, the photographer becomes immersed in the moment creating a sense of oneness between the machine, the place and the emotion. This natural symbiosis generates a mindful contemplation of a deep self-reflective state allowing the photographer to expand the ‘now’ until it is successfully captured within one or multiple images.

With the ability to shift perspective from a detailed close up to a panoramic overview, the photographer greatly beneficial from the juxtaposition between these two styles of imagery. This technique has been used with great effect to represent societies in general, such as Jonathan Swift’s satirical Gulliver’s Travels book, where he alternately finds himself as a giant in Lilliput or as tiny man amongst 72 ft. giants in the land of Brobdingnag shedding light over these two otherworldly perspectives. By capturing the body as a landscape, similarly to Bohnchang Koo’s gigantic images of hands and feet, the self is removed from the emotional association with their body due to the unnatural abstraction of it.

Contradictory, the panoramic shot pulls out the internal self-perception for the external self to perceive and analyse it. This first-hand insight provided by the portraiture has a tremendous effect on the case study as it brings in data otherwise only provided by second-hand accounts. As Hermione Granger once said “Is that really what my hair looks from the back?” while seeing herself escape from Hagrid’s hut.

In conclusion, portraiture has the ability to aid the viewer and in the case of self-portraiture the self, by observing the image as a reflection of the subject. I feel that this study can help photographers and whoever might be interested, to initiate their own self-discovery journey further researching within the fields of psychology and the esoteric.