This work originates from a fascination for the overlooked details and lost moments of the day-to-day life. Such moments are characterized by a certain frivolity, which I capture through raw and instantaneous pictures. A set of these moments leads in a first place to an image collection, where some are matter, others identity or history. Then, to give life to these pictures, I follow a deconstruction process where I tear, cut, damage, paste or hide particles. Through this intuitive process, the world of infinitesimal is portrayed. I fool the perception of ordinary scenes in the aim of building an intimate and collective story.

My photographic work try to put in evidence a certain scenography of exostism, through spaces mecanics, and shows how it reveals a certain representation of the nature, constructed in comparasion of humans. The spaces are discusives forms of a way of thinking ; zoos are theaters, creating senses and lisaison between the actors, (animals) and spectaters (human). They express a certain representation of the animality and mostly, the way of humans thinking about what a exotic animal shoud be. Zoos reveals more on the human's perception's of nature, than on the animals themeselves. Through the attempt of fabrication of authenticity, i try to grab the feeling of strangeness who's born of the relation between an false exotism, and banality of places where it try to take place.

The Appleseed Necklace 2016-2018 by Alexey Shlyk, MA student KASKA Every time I think of my country (Belarus), I am reminded of how wonderfully resourceful and creative the people are. Probably those qualities were inherited - together with tolerance - from the Soviet period. As I was born in 1986, I was a citizen of the Soviet Union for part of my early childhood and I still remember my passport with the hammer and sickle on it and the empty racks in the stores. This series is based on once predominant DIY culture in the country of my origin that developed in the time of my childhood. As I stage my photographs today, I refer to my memories and nostalgic feelings for the things that I have seen and heard in the past, events that I have participated in. In the Appleseed Necklace I am talking about creativity, craftsmanship, diligence and typical recycling that were natural to the people living in conditions of constant shortages. It was a time when one had either to find a way to “snatch” what was needed or to make it out of the accessible materials. Although today this lifestyle is more often seen in domestic decorations, I am trying to revive in my photographs what once was a vital necessity.

Concrete doesn’t burn is a visual research project about the influence of war and military technology on European cities. Considering the diverse use of concrete, the photographic work examines the legacy of armed conflicts and its effects on the architecture, the infrastructure and the inhabitants of cities. Photographed in Belfast, Berlin, Cologne, Mostar and Sarajevo, the urban landscape shows an immutability to a generation unaffected and young, yet at the same time already burdened by the environment.

Mater semper certa est. In the contemporary globalised world, a range of reproductive possibilities are now available, many of which raise important socio-anthropological questions related to the balance of power inherent in such interactions, the different practices and regulations involved in the delivery of ARTs and the individual and cultural significance of these practices.

In this oozing universe we are moving from semi-alive limpets to mushy hair gel and from body surfaces to wrinkled mycologic lumps. Are they food, are they an animal or...? Gazing as a tool to cope with the strangeness of being a living organism in the Modern Nature era.