In Cinematographic Landscapes, Yehor Lemzyakoff transforms the act of walking through the forest into a metaphysical journey. His camera, loaded with film, does not simply document the terrain; it uncovers an atmosphere of suspension, as if nature itself were a stage where memory and time are held still.
The photographs evoke the cinematic language of Andrei Tarkovsky — not through direct reference, but through a shared sensibility. Muted tones, long silences of landscape, and fragments of human traces create an imagery where the visible world points toward something invisible. A fallen tree, a rough wooden bridge, a reflection in water — each becomes a threshold between the real and the imagined, between what is fleeting and what endures.
Lemzyakoff’s forest is not a backdrop but an interlocutor, inviting us into an existential dialogue. To enter these images is to step, like a character in Solaris or Stalker, into a space of uncertainty and revelation — a terrain where the boundaries between inner and outer landscapes dissolve.
This series is both a homage and a continuation: a homage to Tarkovsky’s immense influence on the visual arts, and a continuation of his call to look beyond the surface of things, to see in the landscape the echo of our most intimate experiences.
