After the walls with painted over inscriptions, I wanted something different in the style of minimalism or deadpan. I began to pay attention to the text in the urban landscape and tried to integrate it into the plot.
Although the deadpan style has the simplest or no plot at all, I got a slightly more meaningful deadpan.
Again, I wasn't looking for meaning in the text, the inscriptions, or any signs...let everyone decide for themselves whether it matters to them or not.
It's like in the movies.: You look at a billboard, and there's a message there, and only you see it.
I photographed in a similar direction in 2019-2020, when I just started studying the metaphysics of spaces.
...I didn't think that after the reporting wave, which, by the way, lasted for more than one year, I would connect to such forgotten photo worlds.
The main thing is that I feel good about it all.
After switching to a different photographic frequency, I immediately had a lot of different topics, tasks and plans.
The most important thing is that all these are documentary projects that will be useful in any case.
It was a trial and experimental walk without any obligations to oneself.
Roughly speaking, it's a warm-up in order to understand whether I really connected to this frequency and whether I need it.
As I said earlier, reportage photography will not disappear anywhere – I cannot completely disconnect from it, because this is my job.
In addition, deadpan is almost directly connected with dugouts and night courtyards.
Having captured cellars and courtyards for so many years, I didn't even realize that I was doing it in a certain style...although in rare cases the style has changed.
I knew it had to be called something, but I found out the exact name of the genre not so long ago.
By the way, deadpan can even overlap with street.
