„(...) when the radon levels drop (...)”*
*citation following Jamie Meline / El-P - Habeas Corpses track from I’ll sleep when you’’re dead LP ( 2008 )
is project is an attempt to create a photographic, post apocalyptic narration set in dy- stopian future. is idea came to me a er extensively photographing territories surrounding one of the biggest polish metal foundry/plant ( hist. Huta im. Lenina, Huta im. S?dzimira; now - Huta AcerolMittel ). Due to heavy polluted neighbor all the areas were literally poisoned during the . I was warned to wear a mask when going there, due to heavy contaminated waste, which is thrown out into waste ponds. From the beginning I felt like embarking on a typical stalker-like trip. Later on as I started getting deeper in the subject I red the novel (Roadside Picnic, A.B.Strugatsky) which inspired Tarkovsky to write Stalker and I tried to connect my pictures with that book (which failed).
I don’t want to create an exact copy of this type of literature, quite abundant as well in lm and most of all - in the computer games industry. Some works of this genre were/will be a great deal of inspiration for mine though. I’m de nitely not trying to reenact a typical plot for this project: with protagonist exploring certain territory and encountering numerous di cul- ties.
Of course the scenario (world) in which this project takes place has it’s own logic and a back story. More or less vague explained catastrophe which totally changed everything. In this part I work with writer and consult it with post-apocalyptic enthusiasts. I mainly focus on reimagining how would photography exist in this alternative future. Like what would Alec Soth photograph in the world of Stalker?
What do I photograph in fact? I didn’t stage anything, though I may use some of this technic in later parts. Right now I’m photographing some post industrial localization which could connect with those that started the project. As a intro part to this project I use my previo- us project. is is set to play a role of an obscure intro showing the life before the catastrophe. Some of the picutres were shot at the sights of Shoah - others explore my own private cata- strophe. I consider this connection between my past and current work as crucial. Moreover - I think that the connection of the postindustrial, genocide and my private apocalypse create a very meaningful I also started working with 2 music producers - they create pieces which wo- uld work as a another background for the story. I create the scenerio and add mulitiple layers of this story.