Ambiguity is at play in Shapes, a series of photographs in which experimentation with colour explosions in the landscape create a powerful vision. The explosion of the smoke bomb lasts for just a few seconds; it is almost impossible to influence the outcome as well as to execute without a proper choice of location. The public spaces that were chosen were those that allowed for the explosion and were also ideal as a setting for a composition that seem to refer to the sublime overtones of
the 19th century landscape paintings. This series
of photographs are not simply colourful images
but also images comprising basic forms, offering room for their interpretation. They are conceptual, featuring non-objects and formalist compositions
in a public location, and are thus open to political interpretations. Social relationships are reflected in the confrontations between colour and landscape, individual positions are contrasted with, or inserted into, communal structures; personal imaginations encounter collective image culture. The process is technical and complex with erratic factors such as the weather. The decision to use smoke in nature
is with the intention to juxtapose the beauty of a medium traditionally devoted to creating chaos,
with the romantic beauty of landscapes. They complete each other in a way that proves that beauty is found in clashing visions.