This brings me to my main objective, to present a completely new photographic aesthetic, intrinsic to our ambiguity. I seek the asymmetry in our existence, its fleeting and fragile beauty, just master Japanese potters do. I seek imperfection and textures caused by our condition: a perpetual transience within ourselves and our environment. My objective was to capture our urban condition as it is: in impressions and abstracts, in reflections and aberrations, in refraction and fractions, and, in distractions and vibrations. Every time I photographed hoping to get two distinct human activities, I did not see the third and the forth that came onto the photograph. The aesthetics of ambiguity is not only my postulation, but, my proposal for divergence, from the convention of the still life aesthetic that had held photography hostage for more than a century. It’s an attempt to show life in impressions, by evocation and provocation, just like any painter or writer worth his salt would. Stillness is an illusion, while movement is ambiguity, both provide us with an equilibrium that sustains our sanity.