Andrei Arsenyevich Tarkovsky- 4 April 1932 – 29 December 1986 was a Russian filmmaker, theatre director, writer, and film theorist. He is widely considered one of the greatest and most influential directors in the history of Russian and world cinema. His films explored spiritual and metaphysical themes, and are noted for their slow pacing and long takes, dreamlike visual imagery, and preoccupation with nature and memory.
Tarkovsky studied film at Moscow's State Institute of Cinematography under filmmaker Mikhail Romm, and subsequently directed his first five feature films in the Soviet Union: Ivan's Childhood (1962), Andrei Rublev (1966), Solaris (1972), Mirror (1975), and Stalker (1979). After years of creative conflict with state film authorities, Tarkovsky left the country in 1979 and made his final two films abroad; Nostalghia (1983) and The Sacrifice (1986) were produced in Italy and Sweden respectively. In 1986, he also published a book about cinema and art entitled Sculpting in Time. He died of cancer later that year.
https://en.wikipedia.org/wiki/Andrei_Tarkovsky
Tarkovsky’s cinema takes the viewer into a world that bridges between reality and dreams. In his First film “Ivens Child” the audience is taken on a visual journey that follows Ivens self-discovery after his family were killed by Nazis. The child represents an innocence contrasting against the violence of the war that is going on around him. Some of the scenes are in a metaphysical world, usually created within the natural world. These scenes take the viewer out of reality and allow their subconscious thoughts to make conclusions. Tarkovsky does not create the obvious and quite often places ideas in the viewers head which lets them decide the outcomes.
I think that the work of this Tarkovsky is a creditable link to the work that I am currently making. I want to place my viewer in a mental state that is between the inner sense of peace and the physical world. Tarkovsky creates dream-like scenes that take the viewer out of the reality which he has already created in his film. Placing them into a world that/ idea that they are not familiar with which allows the viewers subconscious to make conclusions about the storyline. What I am trying to achieve is slightly different. I want to create a sense, a feeling, an inner notion that will stay with my viewer as they look through the series that I am making. My photographs are built around the ideas of silence and inner peace, a meditated state that finds myself in when I am hiking with my camera. A slow documentation of the places that I have been and the feelings that I have experienced when I am in the landscape.