Photography implies confrontation. The image is a meeting place. As the subject matter is exposed on film the photographer, too, is exposed by way of the curiosity and obsessions that motivate the gesture of lifting his camera. He cannot know in advance what will catch his eye but the moment he frames it he also discovers something about himself. Photographs are always self-portraits of who the photographer was at a given moment, in a specific place.
These are not images from a journey but rather a journey in images. The pictures were taken in many different places and all they have in common is that the photographer was there. Taken together, they form a broken narrative of disconnected moments. Each of these might have become a narrative in itself, which is why one could perceive the images as a string of untold stories.
Lifted out of their original context they become visual ciphers pointing to something existential. Something to do with departure, unresolved encounters, perhaps even lost opportunities. A reflection of impermanence itself: of longing, nostalgia and the passage of time and places as Albert Grøndahl moves around in the world.
Each of these pictures seems to have been taken with the documentary urge to confront oneself with all the rawness and newness of reality that can only emerge when one leaves behind one’s preconceived notions. However, put together in this sequence they come to look like fictitious fragments of an ongoing emotional investigation.