Golden Hour

Mediterranean is a series about the slow southern coast — Andalusia, the Algarve, the long warm flank of Iberia where the Atlantic begins to act like the Mediterranean. The images are shot on film, mostly at the edges of the day, when colour collapses into a single tone and the horizon gets soft. Fishermen, swimmers, lone walkers, a flag, a shutter, a stretch of empty sand. Nothing staged. Frida moves through these places the way you move through a long holiday — quietly, without urgency, letting the small things accumulate. The palette runs warm: amber, peach, salt-bleached blue, the deep grey-violet of water at dusk. Grain is left in. Highlights are left to bloom. Across the series, scale matters: humans appear small against sky and sea, and the frame trusts that smallness instead of fighting it. Hung together, two or three of these pieces feel like a long afternoon you half-remember. Hung alone, each one holds a single warm minute steady on the wall.