Thinking about photography, or art in general, we often tend to replicate the striking, the scandalous, or the beautiful. Art replicates itself through products and production, directly reinforcing an output-driven idea of sentiment and value. In an oversaturated, overstimulated, and overexposed analog and digital reality, art becomes yet another force of economically driven identity and loses its ability to alter, soften, validate, and challenge the mundane.

A scandal- and production-driven society thus finds value and recognition in art that does not bend but rather elongates its own purpose. The so-called

"beautiful" is, in the modern context, the idea of inherent value taken to its extreme and fetishized to fit the smallest possible attention span.

We are trapped in egoism and, further down the line, even in the complete neglect of altruism itself. The boundaries and ideological theses we attempt to break through the mere pursuit of the beautiful or the provocative only harden under such circumstances.

Along this line of thought, the camera is merely a tool— a mirror reflecting ideologies, positions, and internalized behavior. What if true avant-gardism is something we discovered long ago but abandoned in the name of progress? What if the color we are lacking is the one that is our birthright?

Nothing but society, and its purely egalitarian attitude, prohibits our innate need for expression, our innate need to be understood, and our ability to soften our gaze toward what is real.