Nowadays, travel has become an indispensable part of modern life. For the modern man, travel turns out to have a different, new meaning, interpreted as “moving from one place to another to do the routines”.
To see the everyday landscapes between two cities, as a pleasurable experience, takes us away from the turmoil of everyday life. Images, whether a natural scene or a cityscape in the distance, provoke us to claim them. There flows within us the moments to perceive our “being”; the distance between ourselves and our belongings has long left us with sorrow.
Then rises a passion to understand “who” I am and what “my world” is; to perceive what is never registered by the photograph and photographic techniques only leaving us with the visual side of the moment. Images sometimes having misleading connotations about those moments are like those wildlife photographs that as a beautiful object picture violence and obscenities reductively. A violence scraping the face of earth, taking us forcibly as the passenger of the train through the surrounding nature – a soulless, gloomy and occupied one – to the metropolis.
As the train moves forward, we find ourselves surrounded by metal, concrete walls, looking at the images we are supposed to see. Walls as barriers can have the ugly, obscene side of the city hidden, providing us with a gorgeous, charming view of the city.
Q&A with Roya Noorinezhad
Fotography is a way to perceive what is never registered by me and photographic techniques only leaving me with the visual side of the moment.
Who left the biggest impression on you?
Two Iranian Photographers who were my teachers: Mehrdad Nadjmabadi and Mehran Mohajer.
Tell us a little about yourself
I am interested in Pinhole Photography and started a project with Pinhole, which focused on private scenes of life.
Roya Noorinezhad, born in 1986 in Mazandaran, Iran. She completed a BA in photography at the University of Tehran in 2012.