Of Streams and Lighthouses, and In Between

The genesis of the photographic project "Of Streams and Lighthouses, and In Between" emerged from a profound question of empathy and shared experience. French-born Guillaume Bihan found himself contemplating the chasm between witnessing hardship and truly feeling it when he began sharing a Paris apartment with Daria Svertilova, a Ukrainian national, in February 2022. This coincided precisely with Russia’s full-scale invasion of Ukraine, a geopolitical earthquake that sent ripples of personal upheaval through Svertilova’s life, leaving her recently separated from her partner and facing an uncertain future in a city that was suddenly far from neutral ground. Their initial living situation was starkly basic, mirroring the precariousness of the world outside their door.

Bihan and Svertilova’s paths first crossed during a photography course at the prestigious École Nationale Supérieure des Arts Décoratifs in Paris. As their shared living space became a crucible for discussion, Bihan grappled with his inability to fully grasp the depth of Svertilova’s anxiety and grief, a natural consequence of her Odesa roots and the unfolding tragedy in her homeland. This perceived disconnect spurred a bold artistic endeavor. In 2025, the duo embarked on an ambitious photographic journey along the Danube River, a vital artery connecting ten European nations and a historical frontier of the Roman Empire. Their chosen route traced the river’s course from its origins in Germany’s Black Forest, through central European capitals, and finally to the Danube Delta in Romania before it empties into the Black Sea.

Securing a contemporary documentary photography grant, Bihan and Svertilova set out in a van with no predetermined end date, embracing a fluid and responsive approach to their exploration. Their photographic inspirations for this project were drawn from the works of artists like Justine Kurland and Jeff Wall, lauded for their ability to craft meticulously composed images that, while seemingly documentary, possessed a deliberate, staged quality, blurring the lines between reality and artistic interpretation. This informed their aim to capture authentic moments within a thoughtfully constructed visual framework.

A Journey of Discovery Along Europe’s Lifeline

The expedition commenced in Donaueschingen, Germany, tracing a path through notable cities and regions including Passau, Linz, Vienna, Bratislava, Dalj, Novi Sad, Cetate, Tulcea, Izmail, and Sulina. The journey, spanning from June to August, concluded as the onset of colder weather made prolonged riverbank gatherings less feasible and their grant funding reached its limit. While they initially used maps to identify locations accessible by van, the overarching philosophy of the project leaned towards serendipity, allowing for spontaneous discoveries and encounters.

Their initial attempts to leverage social media for participant engagement proved less fruitful. Searching hashtags within each city yielded limited success in identifying compelling individuals. Svertilova reflected on their approach as "foreigners," acknowledging their lack of fluency in local languages and minimal pre-trip research. "Even if you do research about a place," she noted, "when you arrive, it’s different—every time." This sentiment underscored their commitment to experiencing each location organically, allowing the environment and its inhabitants to shape their narrative.

Navigating the Art of Connection

Prior to this project, Svertilova’s documentary work had predominantly involved subjects within her existing social circles or individuals she had proactively contacted via platforms like Instagram. Her commissioned work for publications such as Libération further shaped her approach. "At first, I tried to contact people I knew and find some people through them," she recalled, but this strategy did not yield the desired breadth of engagement. The duo soon discovered the necessity of direct interaction with strangers.

Their method involved seeking out individuals congregating near the riverbanks, with the primary criteria being youth and an observable "good energy." The selection process was intuitive, guided by an individual’s demeanor and personal style. Intriguingly, the subjects themselves often reciprocated this observational scrutiny. Bihan and Svertilova, with their analogue cameras and tripods, presented a distinctive visual presence, which frequently served as an effective icebreaker, facilitating the initiation of conversations.

The photographic process itself often demanded swift execution. The dynamic nature of their young subjects, coupled with the ephemeral quality of late afternoon and early evening light, necessitated rapid decision-making. Teenagers, their target demographic, tended to materialize during these twilight hours. Some subjects, unfamiliar with analogue photography, expressed a desire to "see" the images immediately, a request that highlighted the contrast between digital and film workflows. To compensate for the diminishing light, the photographers employed long exposure times. They meticulously developed contact sheets throughout their journey, allowing for continuous review and refinement of their work. The final selection and printing of the images took place upon their return to Paris.

A Tapestry of European Realities

The expedition unearthed a diverse spectrum of experiences across the continent. Svertilova described Bratislava, Slovakia, as "really generous," noting the prevalence of English speakers and a vibrant community of young artists. In stark contrast, Vukovar, Croatia, bore the visible scars of conflict, with bullet marks still visible on building facades. In Serbia, they encountered student protests and campus unrest, revealing underlying societal tensions. Across various locations, many individuals hailed from disadvantaged backgrounds, bearing the brunt of both overt and subtle national and international hierarchies. In Ulm, southwestern Germany, they met young individuals involved in the cannabis trade who had already encountered legal challenges.

These encounters profoundly shaped the visual language of the project. Svertilova observed that the images reflected "tension, violence, intimacy." The looming shadow of the war in Ukraine was palpable, a "storm on the horizon." As they journeyed closer to Svertilova’s homeland, an increasing sense of unease and apprehension became evident among the people they met.

Beyond the Lens: Fostering Community and Resistance

While the expedition itself has concluded, Bihan expressed a desire to foster a more sustained dialogue about the continent’s current state. He envisions inviting local photographers to collaborate on establishing a "think tank." This initiative would aim to dissect and comprehend the evolving sociopolitical landscape of Europe through the prism of artistic expression. "The continent is in a critical state," Bihan stated, emphasizing the paramount importance of projects that actively "fight against fascism with the idea of community." This sentiment underscores a broader implication of their work: that art can serve as a powerful tool for fostering understanding, connection, and collective resistance in an increasingly fragmented world. The project, therefore, transcends mere documentation; it seeks to actively engage with and contribute to the cultural and political discourse of contemporary Europe.