Our uneasy desire forabstraction finds its reasoning in the permanent need to comprehend theemotional and physiological web that shapes one’s unique inner structure. Seeing photographically inevitably meansisolating and consciously filtering the world around, not to reveal a hyperreality, but to disclose the deeper meaning that lies behind the indexical. Thus, the series “Fields” becomes anexpression of the potential to transcend the physicality photography has, inthe context of the interdependence and interdisciplinarity contemporary art hasimposed. Has photography establisheditself as a highly regarded form of art or is it still just the shadow ofpainting? And more importantly, can we ever treat a photograph as a canvas,without denying its inherent tradition, and, consequently, our own identity asimage makers?