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New work that developed during my last residency.

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I still remember well when I first read about Akcja Wisła, which is a broad term used to summarise the forced resettlement of hundred of thousands Ukrainians to formerly German territories from the south-east to the west of Poland following World War II — organised by Polish authorities at the time and the Soviet Union. It being another incredibly sad and yet so distinctly European part of the history surrounding us, I always wondered, for different reasons however, why so few people know about it today. Although massacres of Poles aren’t a rare thing to find in history books, clashes between Poles and Ukrainians aren’t either, seldom do you ever come across a state organised ethnic cleansing happening in Europe that isn’t spoken about.

This photograph I made early last year, close to a town by the name of Gładyszów (Ґлaдишiв). A place that has been known to have seen tremendous amounts of fights between communist and partisan troops throughout the years. When I look at this photograph today I don’t find myself ruminating however, grieving over the fact of yet another European tribe slaughtering another and the other way around. I find that it actually brings me comfort knowing that against all odds we might just be able to draw conclusions from history — with Poland and Ukraine maybe standing together stronger than ever against the Russian invasion.

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Allvater, 2022. From Unternächte. My grandpa's hands. Website | Instagram

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Self-portrait after service. Some Sunday weeks ago, Bavaria.

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Can’t believe it, but my photograph 'Betty, am Herzen' has been selected by the @lensculture jury for this years installment of the Black & White Photography Awards as an editors pick! Thank you so much, @magnumphotos @stanleybarkerbooks @nowahalamag @gittermangallery @ima_online and @lensculture!

#lensculturediscoveries

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Thomas, last week, Bavaria.

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Leon Bridges for The New Yorker by Bryan Schutmaat 

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03.09.2022

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Zubrzyca Górna, 2021.

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Going through the archive from Ukraine this year, Lviv and Kulchytsi.

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Josef Sudek - Untitled (forest), 1948

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Very much looking forward to this and today’s vernissage. Incredibly thankful for the opportunity to curate a show I partake in as well. That’s a first for me — representing artists from Ukraine and the US is equally so. On a side note: Very pleased with how the screen printed posters came out. Cannot remember the last time when I have been so satisfied with the outcome of a poster I made.

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Tree study. Rostock, 2021.

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Field notes. Nowy Sącz, 2022. #4x5

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Harpswell, Maine // 2022

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Betty, 2022. #4x5

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Propane Tank, Photo by Jim Rohan