A child's angle of view on the people around. This is my tribute to Vivian Maier, and just a great way to look around that we lose as we grow up

Today, slide film (the positive) is rare. There are few places left that develop it. A relic of the past, slide film is a capricious medium. It's picky when it comes to light conditions, exposure, and colour balance. It was meant to be used as a transparency, and it belongs with the era of carousel projectors. It feels being simultaneously too much and too little for our digital age. Yet, with all its quirks, it just has this remarkable capacity for turning light and colour into the powerful sense of presence in a captured moment.

In the beginning of the 20th century two Italians--Anton and Arturo Bragaglia--,brothers and photographers, were more interested in capturing movement than shapes. They aimed to create a dedicated style of photography: photodynamism. Movement was to be depicted as a continuum, a trace of a trajectory. There are no clear lines in photodynamism to which most of us are used in a still photograph. Instead, subject matter is mostly blurry, being caught in motion: photographed in time rather than in space. This series is my modest homage to photodynamism, and some more. In these photographs, I am looking into the elusiveness of clear shape. We take the stillness of shape for granted, even when it is in motion which we choose to ignore. So, what happens to the shape when motion stands still?

This is a series that I made in Toronto in 2009. I gave the photographed places a surrealistic look: the starry skies, the mixture of night and day. These places look like they belong to a different world; they almost glow from inside, and yet they are mundane. Anyone can find these places and try to see in them what I saw.