30 Seconds of Weightlessness originates in a moment of rupture. The work emerges from the silence left by a life that never came to be, Aurelia, and from the emotional and physical density that followed. Rather than attempting to explain this experience, the project articulates it through a visual language molded by instability, suspension, the amniotic, and drift. Aurelia aurita, the moon jellyfish, appears throughout this body of work as a recurring presence and elemental figure that anchors the project in a peripheral state suspended between heaviness and release, presence and absence. It functions as a visual thread through a space where meaning remains unresolved, held in continuous tension.

The project incorporates fragmented dialogues drawn from multiple film adaptations of Stanisław Lem’s novel Solaris, a work concerned with the limits of human understanding. It is also informed by the philosophical writing of Gaston Bachelard, particularly Water and Dreams and Air and Dreams, where water and air are understood as poetic substances of reverie and profundity. Together, these influences have reinforced my literary and visual exploration of grief, psychological disorientation, and the instability of perception.

I do not use photography as a tool of representation or memory. For me, it functions as a symbolic apparatus that activates rather than fixes meanings. I am not interested in transforming reality into abstraction, but in recognizing and extracting symbolic potential already embedded in objects, situations, and landscapes. This becomes a way of pursuing new possibilities of meaning, in which the photographic image operates as a site of interpretation rather than a record of the real.

In this project, photography has been for me as an act of isolating a dream image, as a brief manifestation of something that cannot be fully articulated yet demands examination and situating within a wider psychic landscape. I work with photographic series as if constructing a sentence. Each image functions as a word whose meaning remains open in its own right. Sense emerges through relational structures such as proximity, rhythm, resonance, and sequence.

The process behind 30 Seconds of Weightlessness was instinctive and slow. Over nineyears, I had to learn to read my own images as symbolic material produced by the unconscious. What initially resisted articulation required sustained excavation, interpretation, and the creation of new internal connections. The result is not a story to follow, but a space to inhabit. It does not propose a linear narrative or a closed meaning. It establishes a space structured by ambiguity, where images operate as signs to be read, questioned, and held in tension.