Prepletanja – prva samostojna razstava, 6. februar – 17. marec, Fotografski muzej Maribor

Avtorica raziskuje povezavo med subjektom (človekom) in okoljem oziroma fotografskim prostorom ter njuno neizbežno sobivanje v fotografiji. Sestavljajo jo štirje sklopi; prvi je prikaz prostora samega po sebi, brez očitne prisotnosti subjekta. Tudi na fotografijah prostorov, ki se nam sprva zdijo neobljudeni ali celo samotni, je namreč še zmeraj čutiti vpliv človeka, čeprav nam trenutno ostaja prikrit.

Preostali sklopi serije se osredotočajo na portretno fotografijo. Medtem ko je vpliv prostora na nekatere portrete skorajda zanemarljiv, je pri ostalih ključnega pomena, čeprav mu pri opazovanju večinoma ne posvečamo pozornosti. Neopazno vpliva na našo percepcijo subjektov, določi jim značaj in nam omogoči, da si okoli njih ustvarimo nam smiselno zgodbo, ki predstavlja identiteto fotografije kot celote. Ključen je tako pri opazovalčevi interpretaciji odnosov med subjekti, kot pri oblikovanju njegovega lastnega odnosa do videne fotografije; ta vpliv se jasno vidi na fotografiji pekinških mladoporočencev, ki ne bi bila zanimiva, če ne bi prostor nakazoval očitnega kontrasta med premožnimi, mladimi subjekti in revno četrtjo s starko v ozadju.

Fizični prostori v seriji zajemajo vse od učilnic, mestnega okolja, do tržnice in cerkva. Na nekaterih fotografijah pa prostor ni jasno definiran, morda se zdi, kot da gre celo za popolno absenco, vendar je še zmeraj prisoten, saj okolje intuitivno prepoznamo kot gledališko oziroma koncertno, kjer poudarjanje prostora ni vedno smiselno, saj že samo dogajanje na odru pozornost načrtno usmerja v subjekt. Vključenih je tudi nekaj klasičnih portretov, za katere je prav tako značilna praznina oziroma nevpadljivost prostora, ki dodatno poudari človekovo osebnost, značaj, ne predstavi pa njegove zgodbe ali položaja v družbi.

Nasprotje prostorne absence in osamelih subjektov so fotografije, na katerih prostor predstavljajo ostali subjekti. Glaven subjekt je tako postavljen v izrazitejši družbeni kontekst, vendar se z njim večinoma ne zliva, temveč izraža določeno edinstvenost, zaradi katere izstopa in je na fotografiji namerno izpostavljen.

Exhibition title: INTERLACEMENT, February 6th – March 17th, Museum of Photography Maribor

The author explores the connection between the subject (human) and the surrounding, i.e. the photographic setting, and their inevitable cohabitation on a photograph. The series is composed of four sets. The first one presents space as such without the apparent presence of the subject. However, even on photographs of spaces that are seemingly uninhabited or even desolate, human influence can be felt although they remain concealed.

The remaining sets are dedicated to portrait photography. Some portraits show almost negligible influence of the setting, whereas in others, the backdrop is of crucial importance, although we mostly pay no attention to it when looking at the photograph. The setting influences our perception of the subject unobtrusively by determining its character and enabling us to create a sensible background story, which provides the photo as such with its identity. The setting is thus essential for the viewer’s interpretation of relations between the subjects and also in the shaping of their attitude to the photo being observed. This influence is apparent in the photograph showing the Beijing newlyweds, which would lose all fascination had its setting not implied the evident contrast between the rich young subjects and the poor district with an old woman in the background.

Within the series, physical settings range from classrooms and urban environments to markets and churches. On some photographs, the setting is not defined clearly and might even seem to be completely absent. However, it is present as we recognise the backdrop intuitively like a theatre or concert setting – and in such instances, it is not always sensible to emphasise the space because the happening on stage intentionally directs our attention to the subject. The series also includes some classic portraits that also typically feature emptiness or the inconspicuousness of space, which only further emphasises the human’s personality or character, but fails to present their story or position in society.

In contrast to spacious absence or lonely subjects, on some photographs, the setting consists of other people. The main subject is thus placed in a more vivid social context, however, not in order to merge with it but to express certain uniqueness which makes them stand out and owing to which they are intentionally singled out in the photograph.