»Both writing and photography are both inaccurate ways of reproducing impressions. It is simultaneously about archiving and the attempt to objectify what is first a subjective impression. To make one's own view of the world indirect, shareable.«

»I love the work of Lauren Greenfield and - classic - Nan Goldin. But the inspiration also comes in distinction to classic motifs in photography, which I've always wondered about being so stuck on. For example, on naked women. Not that they can't be beautiful; it just strikes me as absurd that relatively few photographers* have come up with the idea of working out what's sensual, or hot, or funny about male bodies.«

»Working with people and especially skin was therefore very obvious, because the sensuality of the song is first tied to bodies. But I also wanted to find a connection to landscapes; to cities, to beaches, to clouds. They are all places that invite you to dream; that make promises to you in a certain way.«

»That was the association the song triggered in me: The waiting for the exciting: The restlessness, the distance from the world, the dreamy.«

BIOGRAPHY

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Nora Haddada, born in 1998 in Neunkirchen (Saar), studied creative writing and literary studies in Hildesheim, Paris and most recently in Berlin. She has edited for Benedict Wells, among others, worked as a stand-in at the German Embassy in Paris, as a production assistant for the feature film "Futur Drei" and currently as an agent at the Petra Eggers Agency. She also published in magazines and anthologies, most recently in Missy Magazine and commissioned works by the theater "Flugwerk". Her analog photographs are located between female gaze and humour. She lives in Berlin.