The works explore the interplay between what appears on the surface and what lies beneath it. The author, fixing the streams of light through a self-made device, forms a visible part consisting of a paper base and a cyanotype solution. By applying layers of solution and exposing them to sunlight time after time, there is a kind of accumulation of time.
  The waiting time, the time of interaction of light with the solution, which has a low photosensitivity, in a certain sense blurs the concept of photofixation, bringing the process closer to painting. In contrast to photography, which by its lexeme and by its mechanics involves clear movements for writing letters and a quick press on the shutter, as if dividing the flow of time into before and after. The created object perceives time as a continuum.
  Cyanotype creates shades of Berlin blue, but the use of the apparatus legitimizes the inversion process. The result is an image of golden color, which is mostly associated with the Sun, gold and amber, as a material embodiment of time. Being in front of the image and interacting with it, the viewer seems to find himself in a stream of light, which with incredible speed transports him from the actual time to the metaphysical time of the creation of the object. The object on which the lens of the camera was directed continues to exist and interact not only with the photographer then, but also with the viewer at this moment in time.