Author: admin_sava

What if we could see the world unlearned?

Our vision is conditioned—trained by evolution to identify objects, to name and categorize. We see the tree, not the branching. The cloud, not its billowing architecture. In our rush to recognize, we overlook the structures that connect all living forms.

Phase Shift inverts the familiar. By reversing tonal values while largely retaining original colors, these images occupy an impossible space between negative and positive, between document and dream. Trees glow like nervous systems. Skies deepen into oceanic voids. The forest becomes a cathedral of veins and vessels.

This is nature seen sideways—through the compound eye of an insect, the gaze of something arriving from very far away. The process strips the landscape of its comfortable familiarity and reveals the architecture we’ve stopped noticing: the fractal branching of winter trees, the silent choreography of clouds.

The presentation is integral to the work. Printed at approximately 60×90 cm on metallic paper, the images gain an additional dimension. The reflective surface intensifies the otherworldly luminosity of the inverted tones while incorporating subtle reflections of the surroundings—the viewer, the room, the light—into the image itself. The photograph becomes a shifting object, never quite the same twice.

The title borrows from physics, where a phase shift describes a change not in what exists, but in how it is perceived. These images do not alter nature. They alter us.

Perhaps the mystical was never elsewhere. Perhaps it was always here, waiting for our eyes to shift.

In my photo series “Backstage Burlesque,” I document the intimate world behind the curtain, where everyday people transform into seductive artistic personas. My camera captures authentic moments of transformation—from concentrated makeup routines to exuberant conversations between the artists. The images also reveal the duality of the palpable tension before the performance and the liberating relief afterward. Through this documentary approach, I unveil the artistry and humanity behind erotic performance. The series explores the space where everyday life and art merge, revealing the deep connection between the performers in their most vulnerable and authentic form.

In May 2016, I took part in the Tweed Run in London. Here are my impressions of this extraordinary bike ride.

Transylvanian traditional costumes photographed in May 2012 at the meeting of the Transylvanians in Dinkelsbühl.

Statement für dieses Projekt folgt in Kürze.

The Oktoberfest in Munich has become the most famous folk and beer festival in the world.
At the end of the 90s and especially in the course of the 2000s, the Oktoberfest, parallel to its growing popularity, turned more and more into a kind of Bavarian costume festival. The spectrum of this clothing ranges from low cost traditional costume fabric cover-ups, cheap mass-produced costumes to more expensive fashionable creations with a traditional flair. Even fringe groups benefit from the diversity of costuming at Oktoberfest, these wear their “own” traditional costume, no matter how extreme or different.
However, you can still see the original traditional clothing that exists apart from fashion and are typical of certain regions and traditions. However, this type of traditional costume clothing is rarely seen or only on a few days.

Particularly noticeable at the Oktoberfest are the colorful fairground and beer tent crowd and the rampant consumption of alcohol, which is not without consequences. It is a continuous state of exception that lasts for more than two weeks.

All these aspects together form a unique frame for the portrayed people, who are ultimately the most interesting thing about this folk festival.

During the communist period in Romania, the Dacia 1300, a copy of the Renault 12 made in Romania, was more or less the only car you could buy. Thus, until 1989, over 90% of the cars on Romania’s roads were Dacias.

My parents of course had a Dacia too and when it was sold, a Dacia followed again, the only new thing was the color, sometimes white, sometimes dark green, then butter yellow and so on. Although I always felt sick in the back seat as a child, I liked driving the Dacia very much. I have seen and experienced almost all of Romania with the Dacia, my parents were very enthusiastic about traveling.

On the one hand, with the series Dacia & Chauffeur I try to revive the memories of a childhood utopian time, where at least about the car everybody was the same. The car didn’t matter, what mattered was where you drove it, which friends you visited or the places you saw with it.

Twenty years after the fall of communism, this vehicle is still present on Romania’s roads. But it is no longer a sign of equality but of inequality, it is the car of the poor who do not have several thousand euros to afford a newer one. It is important for me to show the drivers in this series because with this I want to show my respect and sympathy for these people.

Isarleben (Life along the Isar) – Part 1

The Isar divides Munich, over a length of more than 20 kilometers, into almost two equal parts. Despite this, the city only reaches the banks of the river in a few places. One feels in the middle of nature although one is in the middle of the city.

As a result, the banks of the Isar, some of which are very wide, strongly attract city inhabitants. On weekends and especially in the long summer evenings, the Isar is a promenade, a barbecue, a sports field, a bathing place and an oasis of relaxation for Munich’s city dwellers.

Watching the crowds, the individual groups of people, down to the single individual is fascinating. The river landscape, which looks as if left to nature, but is ultimately completely designed and tamed by man, becomes a paradisiacal setting without any danger. It is a place populated by people who follow only their desire and enjoyment, living in the moment of the present and willing to forget the past of the city.

This series consists of landscapes full of people, where the crowd is the subject and portraits where individual personalities become visible.

Isarleben – Part 2 (Portraits)

The Isar divides Munich, over a length of more than 20 kilometers, into almost two equal parts. Despite this, the city only reaches the banks of the river in a few places. One feels in the middle of nature although one is in the middle of the city.

As a result, the banks of the Isar, some of which are very wide, strongly attract city inhabitants. On weekends and especially in the long summer evenings, the Isar is a promenade, a barbecue, a sports field, a bathing place and an oasis of relaxation for Munich’s city dwellers.

Watching the crowds, the individual groups of people, down to the single individual is fascinating. The river landscape, which looks as if left to nature, but is ultimately completely designed and tamed by man, becomes a paradisiacal setting without any danger. It is a place populated by people who follow only their desire and enjoyment, living in the moment of the present and willing to forget the past of the city.

This series consists of landscapes full of people, where the crowd impresses and portraits, the close-up, where individual personalities become visible.

The cities in Transylvania, as in the whole of Romania, have developed strongly after the fall of communism, the market economy has in many ways brought the image of the cities into line with that of Western Europe. The situation is different in rural areas. Here, time seems to have stood still, and so-called progress seems to arrive here only slowly.

Even after more than 20 years after the fall of the iron curtain, I still find here the images of my childhood, the idylls that make the rest of the world forget for moments and make time stand still.