Sorin Vidis
Sorin Vidis (B. 1978, Brăila) has been experimenting with the photographic lanquage since 2006. He is primarily interested in documentary photography, photo essays, and street photography.
His projects include:
Oina Photo-Documentary - created together with photographer Bogdan Boghitol, exploring how socio-cultural realities intersect with Romania's national sport. In 2017 they published a photo book that won the award tor Ivost Beautitul Photo Book. The project was exhibited at the Museum of the Romanian Peasant, Seneca Anticafe, and at photography festivals in Cluj, Ploiesti, and Negrești Oas.
The Last People of Văcăresti Pit - a photo essay examining how people living on society s margins shape the peri-urban landscape in their struggle for survival. It was published by Antler Press UK (2016) and later by Celula Foto in Cluj (2022).
Taxidermia - Who Disguises Death as Life - a project exploring the work and socio-cultural challenges of Romania's taxidermists, those who make a living from the art of preserving vertebrate animals. The visual-text essay was published on the cultural journalism platform Scena9 (2020).
"The concept I resonated with, which gave meaning to my own-still somewhat unrefined-reasoning, belongs to H.C. Bresson: the photographer looks with one eye through the camera, constructing images from the unpredictable exterior world, while the closed eye looks inward, excavating images and concepts from the unconscious or the photographer's memory. The photographer's conscious,
momentary reaction mediates between the two, making decisions on the frame that deserves to be captured.
I believe the photography I practice says more about me as an author than about the subject itself, which
often functions as a state or a purely aesthetic element.
As such, my photographs appeal to the collective unconscious and serve as an invitation to personal introspection-to look more attentively and empathetically inward, at the human being behind the mask. I don't like to confine the viewer's perception, which is why I tend not to label. Instead, I seek out strange, intriguing, and stimulating frames-on the border between poetry and philosophy-with the purpose of raising questions rather than providing answers."










