I grow up in a small town called Nova Dubnica. The town was built in the
fifties near to a huge weapon factory in a bizarre style, called Stalin
baroque. The town was spreading under small gentle hills in a
symmetrical composition and it was a big shock for me when I later
discovered, that not every city is built by strictly geometry rules.
 
When I was twelve years old I persuade my parents to buy me a cheap
plastic camera, the one where the distance on the lens is marked with
symbols. I remember how fantastic it was when I was able to catch the
world around me into pictures. I find an acquaintance in a local photo
lab, visited her regularly for few months, helping her with some works in
the lab. (Maybe it is not just by coincidence that my main camera today
is a cheap plastic Holga with symbols, not numbers, on its lens.)
 
When I was 18 I moved to Bratislava. It was in the gray times of ending
socialism. I was working in theatre as a scene shifter, letter in a
bookshop. After Velvet revolution in 1989 I had started to study
photography on Academy of Fine Arts. It was a great time full of hope.
 
There were fantastic professors, all of them were just a year ago banned
artist who can't publicly exhibit. My works were a part of the first photo
exhibition of four photographers in National Gallery. In the second year
I left the school. I lost the faith into what I was doing and into the art world,
of which I was
a part at that time.
 
I consider myself as a photographer since I left school, but working just
for myself was more and more pointless. There were years in the late
nineties, where I was totally out of photography. My return became
slowly in new millennium. I've started to work with middle format
cameras and focused on landscapes. Ten years later I left my regular
work and had started to live as a full-time photographer.
 
I was working a lot with a digital camera at that time, building a
commercial portfolio and had published a book about High Tatras sierra
in a good publish house here in Slovakia. But, in some way it everything
looked in some way inferior to works I made 30 years ago. I was thinking
about photography and role of photographers in the world, where
everybody has a camera.
 
For two years, I slow down with photography again. At that time, I
published and work as an editor of an online magazine about
contemporary art called hentak.sk. In the end 2013 I made the first
experiments with wet plate photography. I spent few hard months
learning the process, but since the end of 2014 I give up digital works at
all, decided the spent the rest of the time I have just on the works that
really matters.