Everywhere we stopped

In ‘Everywhere we stopped’, these images contain a metaphysical relationship to the surroundings with the potential of the pinhole camera to absorb, not only an image created by light, but also an experience transferred through the empty diaphragm of the aperture. Do the images then reveal an internal dialogue through the capture of the open receiving aperture of the pinhole camera? Does the atmosphere slide though this diaphragm and enter the image?