As I was walking the dark corridors of an abandoned prison building, I noticed the signs of the long gone prisoners – compositions of magazine cut pictures on walls of cell rooms. They were somebodys dreams, possibilities of life outside the cold walls, windows to daydreams of beautiful women, cars and luxurious life.
I photographed these dream compositions on the walls by using extremely long exposures, noticing how the vivid reflections of coloured walls altered the scenes of the dark and moody prison into tender, baroque and dreamlike universe, reminiscent to the dreams in the prison walls. I found these reflections in the old communist era building brutally beautiful, sometimes even erotic monuments of grotesk decay.
Pale Fire is about the uneasy relationship we have with the world and how loneliness and fear when photographing can have a huge effect and the images become manifestations of these feelings.