e s c pape f r om t i me b y g i e d r e z l at k u t e
my friend
put up a new profile
picture on Skype. At first glance it seemed familiar—as if it had been taken from my parents’ album, but in fact it was an image of my friend, the same face I had seen the night before. His friend, photographer Darius Jurevičius, found some old films from ‘90s and made some pictures from them. Naturally damaged by time, the films acquired a quality that made their subjects resemble welladapted time travellers. I contacted Darius complimenting the photos and we talked about his work. Though he usually tries to push photography to its limits, experimenting with its qualities, the appeal of these photos lay in their simplicity and patency. Later, Darius showed me photos made with the same films during the ‘90s. There was an obvious connection between the old and new, looking at the modern world through old lenses, capturing it in old films, bringing the ‘90s back. For me the old pictures represented lost time; time experienced in a different way. For Darius, combined with the new pictures, they represented his life. The works acted as a visual diary with only two inscriptions, separated by almost 20 years but written in the same book and with the same pen. It is possible that by taking photos using old films Darius is going back and comparing certain periods of his life. I found it more interesting, however, to compare and follow changes easily apparent to any viewer: the style, technique, and personal qualities captured in his art. There is a strong feeling of unity between all of the photos, and it is easy to find a number of connections and interpretations. Looking through the work I found pictures which in my opinion