Photography is an expression of a metamorphosis: from the initial showing people who have simply appeared before the lens to presenting all they might be(come), only if we consider all the layers and fluidity of the outer identities.  It sometimes distorts meanings only to decode them from another angle; sometimes it disperses outer identities so it could rebuild them from the inside. At other times, it camouflages or over exaggerates certain individual elements in order to point to the whole or, on the contrary, to confront us with its absence.

Human Segments

Documentary method and staging are used to create a series of images that are revolving around the polysemy of a bathtub. At one hand, a bathtub is a private, warm place where one takes a breath after a chaotic day, while resting, protected from the ‘outer’ world. At the other hand, it is a place where one can deny breath, being violently drown, or committing a suicide.The Breath presents a double life, a Schrodinger situation of being and not being somewhere at the same time, of being at the upmost state of relaxation and of freezing fear. By crossing the subtle line between the private and the public space, figures (whose identity/faces are not captured) firstly appear as bodyguards of the central figure, but then start holding her in the bathtub (as in mental hospitals), as she gradually appears as a body, lifeless, with closed eyes.

Breath

My photographs are made during travels, in motion, driving or riding between towns or passing through unattractive locations and streets. The background of the series is a constant movement, displacement from one landscape to another, a photographic discovery and looting of a place. I am not pursuing any landmarks or tourist attractions. On the contrary: my method turns the notion of tourist photography into an irony. The locations attracting to me are marginalized, neglected and unfrequented.

Rambling Conversations ll

I am prone to immersing into other people's emotional bodies and with the mood and rhythm of the city, intertwining with all of them, with the collective street feel, with emotional boulders blocking certain spaces. In order to survive, I resort to solitary night rides. The entire city is a mobile studio, while my camera enables me to watch with an inner eye, a night-vision one, like that of an owl. I watch emotions, stacked one on top of the other, emerge from the creases of the night and take meaningful shapes in series of my photographs. The entire process is like a impetous with high-risk passings-by, because it sometimes happens that I drive and take pictures at the same time, watching through a double glass at high speed. Such adrenalin-charged moments of movement on the edge, on the brink of (non)existence, beyond the boundaries of fear, are so liberating - to create or to perish. I choose to create. Creation requires experimenting, going beyond the norm, not consenting to the general points of likeability. 

Rambling conversations

I built a seemingly different world, a movie scene or a surreal sight within the emotional field of collective loneliness. My photographic method over-accentuates and intensifies reality to such an extent that it ends making us ready to embrace it. The resulting photographs are a guide through the dark landscapes of the self, showing us external locations and discarded emotions in space, encouraging us to face the neglected internal domains. 

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Ljubica