Eternal presence

Misha Pedan's 'Eternal Presence' consisting of a series of eighty-two photographs, taken at various locations and mostly showing us everyday scenes from urban life, it appears to align itself with a documentary aesthetic and a discourse of photography as the art of extracting a crucial moment from the flow of time. The images are however infiltrated by another presence, that of a fellow artist, Jan Håfström, whose earlier work 'The Eternal Return' is overlaid, subtly and sometimes almost imperceptibly, onto Pedan's own. That Håfström's series bears a similar, although from the perspective of the philosophical tradition significantly transformed, name as Pedan's, seems to set up a particular resonance between them, two series crossing and intersecting, without merging into a third unity. Misha Pedan?s 'Eternal Presence' consisting of a series of eighty-two photographs, taken at various locations and mostly showing us everyday scenes from urban life, it appears to align itself with a documentary aesthetic and a discourse of photography as the art of extracting a crucial moment from the flow of time. The images are however infiltrated by another presence, that of a fellow artist, Jan Håfström, whose earlier work 'The Eternal Return' is overlaid, subtly and sometimes almost imperceptibly, onto Pedan?s own. That Håfström?s series bears a similar?although from the perspective of the philosophical tradition significantly transformed?name as Pedan?s, seems to set up a particular resonance between them, two series crossing and intersecting, without merging into a third unity.