This is the story of my journey. I am flying from the United Kingdom, where my husband and I live, to a third country, Germany, where my sister lives, to meet my family who are travelling from Iran. I hadn’t seen my family for a very long time. We listen to my parents talk about memories of home and compare Europe with Iran; we observe the once familiar, their habits, their past passions and doubts, and the views of two generations. This project flows like a river, winding around conversations and reflecting two generations: the one that experienced the trauma of the revolution and the one that does not remember it but feels its aftershocks. Landscapes, old and new, interweave with family shots; the life of the individual is aligned with the history of humanity. The series consists of fragmented units that are either based on formal aspects or rooted in paintings, archive photographs or the political, social, or historical context of monuments. Each of these fragments is juxtaposed in a new story in book form, detached from its original context. By presenting them in a new context, the images are intertwined and woven together through narrative allusion. Some objects and elements are used as metaphors or symbols, others refer directly to dialogues. This creates a bridge between different worlds. We look at the present, at what is happening before our eyes, and try to look forwards, but sometimes we also look backwards. In exploring the connections between past and present, particularly in exploring forgotten histories, I use the medium of photography to connect to our past. I am interested in recording not only our past, but also past times, to illustrate not only my own history, but history as such, including the time I did not live in that led to this present. The intricate nature of our personal situation, nested within the wider political landscape, seems to have unexpectedly distilled into this strange Christmas.