The Icelandic word Heild (whole) expresses the sense of unity that is felt between Iceland’s people, culture, and predominant nature.
The Japanese word Heikō (平衡, equilibrium) translates the feeling of balance found in Japanese culture, and the contrasting intensity and peace of its environments. Using a different kanji, Heikō (併⾏, parallel) can be used to express parallels found between Iceland and Japan.

Timothée Lambrecq

By aligning the seemingly unaligned, one can find a sense of balance between time, space, and the continuity of life’s passage.
This ‘meant-to-be’ feeling may be coincidental, but brings with it inner tranquillity.
The environments we inhabit – whether anthropocentric, ecocentric, or the places between – engulf us as an inextricable part of them, and define our perception of self.
The unique philosophies of Iceland and Japan extend beyond their island nature, and into these subtle interconnections.
Being part of two or more worlds offers a vantage point from which one can admire the view.
Along the way, there are moments that can have an impact immense enough to shift one's course. There is a sense of frictionless totality to be found in the resonant subtleties that follow.
Invisible forces pull one in different directions, but forming such connections is an antidote to the imbalance of alienation.
In the thirst to devour all of life’s possibilities, balance and consistency may be mutually exclusive.

Katerína Spathi, Co-curator

Recently going through a heartbreak , I’ve found myself seeking healing by spending time with friends / family but also alone time in nature.
While experiencing the latest in the French Alps, I encountered an un unexpected sense of peace and quiet surrounded by local cows.
There was something very southing but also kind of mystical. I was mysteriously dragged to capture the moment not knowing exactly why.
While back “to the real world”, I still find a lot of beauty, love and comfort in these captured memories.
It became obvious that this photo series is a love letter.
Thanks to the cows, thanks to nature and thanks 🤍 to all the loved ones for their healing presence.
Merci pour le comté and all the other delicious cheeses.
ティモ
2023

There is a difference in the way individuals understand and define wild nature as opposed to cultural landscapes, and even geographical proximity or perceived similarities amongst cultural groups can do little to mitigate this. Yet, this gap appears even more amplified when the focus of specific research takes into consideration two lands, two peoples, two cultures that are extremely distant from each other also from a geographical point of view.

However, it is precisely when paradigm and paradox meet that certain reflections and certain images provoke extreme interest and intriguing charm. In this structural and binding work conducted across Iceland and Japan, Timothée reflects on the natural and urban landscapes that are idiosyncratic of these two countries. By diving into the relationship between architecture and landscape, the position of man and culture in rural nature or the urban space is also explored. There are many ways to tell a story, and so many more ways to lie about it.

Timothée’s approach is that of an internal observer, a co-worker. That is, a spectator-actor who does not limit himself to photographing and delivering the material by merely offering an aesthetic product of visual consumption. Instead, he unveils the dialogue and energies he has shared with the local community, offering us a glimpse of daily life of the cultural activities of both countries, active and intrinsic at once.

Andrea Volpi

文化的景観とは違って、個人がありのままの自然を理解し定義する方法には大きな違いがある。地理的な近かったり、文化的属性に近しいものがあったとしても、これを緩和することは ほとんど不可能だ。地理的な観点から見てもとてもかけ離れた二つの土地の、二つの国の人々、そして二つの文化をある特定の研究対象とした場合、この理解の差はさらに大きくなる。

しかし、パラダイムとパラドックスが出会った時、ある映像、あるイメージはとても魅力的なものとなる。アイスランドと日本をまたぎ、構 造的に束ねられたこの作品のなかで、ティモ テは二つの国を表す自然と都市の姿を写しだしている。そして建築物と景色の関係に入り込むことで、田舎の自然や都市空間における人と文 化の位置関係を探求している。物語を語る方 法はいくらでもあるし、それ以上に嘘をつく方法もたくさんある。

ティモテのアプローチは内的な観察者や協働者のようにアプローチする。つまり彼は、単に視覚的な消費物としての美的産物を提供し、素材 を撮り届けることに彼自身を制限しない、い わば観客兼役者なのだ。そうすることで、彼は地域のコミュニティと分かち合った対話とエネルギーを明らかにし、二つの国の活気があり本 質的な文化的活動における日常をわたしたち に見せてくれる。

アンドレア·ヴォルピ

Shot during the Tokyo gubernatorial election campaign which happened to be at the same time as ‘tsuyu’ (the rainy season).
I found out that the impact of tsuyu gave the politicians different expressions and messages to what the candidates originally intended.
2020

Installation work in collaboration with Saskia - Tokyo,
December 2020

Personal still life project shot during 2020s lockdown.
The ongoing situation is impacting everyone in their own way. Many creatives have reacted by exploring different kinds of work. I have been wondering what the outcome of my work would be as I shoot mostly people and places - two things I cannot really shoot at the moment. As a result, I didn’t feel very inspired but still felt I needed to do something. I took what I had around me - fresh-cut flowers - to explore still life photography in a quiet, not ‘still’ way, rushing everything and trying to make some image I’m happy with.
2020

Water : A colourless, transparent, odourless liquid that forms the seas, lakes, rivers, and rain.
Yet it can be seen in a variety of colors forms and textures which I collect here.
Ongoing