Ioana Vrabie is a well travelled international photographer known for shooting mesmeric multiple exposure analogue images that at a first glance look 'wrong'. Her images arrest the viewers and invite them to look deeper and deeper into their layers to achieve a state of profound presence typical of the analogue era and break free from the hectic scrolling and sweeping of digital images on portable devices. Born in Transylvania, Ioana Vrabie grew up in Tuscany, Italy. Being a mix between two opposite cultures, her original communist one and her new capitalistic one, propelled her to develop an inquisitive approach towards life and constantly search for her own personal truth. At the age on sixteen her grandfather gifted her with a Zorki 6 (the Eastern European version of Leica II) and her love for photography started. It was only in her late twenties that she decided, after travelling the world as flight attendant and being exposed to the variety of the World for almost a decade, to enroll at University of Arts London and take her passion to the next level. In 2013, after a few years working as a commercial photographer and spending long hours in front of the computer retouching images often ending up with backache, she started practicing yoga and she decided to leave London in search of a “reality that does not need retouching”. Just before the start of the journey, she received a providential gift from a stranger: a bag full of expired film rolls that she took together with her analogue camera to Italy, India and Bali. Seeing the images when the film was developed and the sensation she experienced when shooting pushed her to analise herself deeply: she realised that she shot these photographs in the moments when she was feeling overwhelmed by the beauty of the place she was in and in which she was trying to anchor herself forever somehow, “boxing” herself between the layers containing the main details that would attract her attention in those specific moments. The inner conflict that she experienced in her personal life, growing up between two opposite realities, the Romanian communist and the Italian capitalist ones, without feeling completely at home in any of them, experiencing a constant feeling of unsettledness and desire to escape, finds resolution in her work through the creation of a third visual reality that synthesizes her conclusions of what is good of two or more different perspectives. By looking outside through the camera lens she has actually got to see her inner world, found peace and realised that for her home is where there is time to seek and contemplate the beauty arising from overlapping different perspectives.