MORTRAITS

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when one enters for the very first time a completely unknown room or space submerged in profound darkness, one is unaware of the existence of objects, tables, chairs, do they therefore exist or not? thus, what is light that it is calling them into existence? and is it calling them into existence? what if we all see in negative?

our image of the world, the people and of ourselves is based utterly and solely on impressions. the knowledge that impressions do not constitute a firm and credible basis does not push us away from the obsession of naturalness and sincerity. in English another word for ‘naturalness’ is ‘artlessness’! when is one really natural and sincere with oneself and with the world? in loneliness? in interaction with others? in social roles, the ones imposed and the ones chosen? is it theatre? and if it is, when does the spectacle end, if at all?

each one of us contains within oneself an actor, a director and a spectator. the point where these three characters meet in front of a mirror is fascinating. it is a point where one finds himself in such an intensely intimate situation with oneself that it becomes embarrassing.

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all of the photographs have been made in negative. it is however the only effect used. all of the other effects have been achieved ‘in analogue’, applying the laws of optics. the photographs are not post-processed or retouched. they are printed on thick plexiglass size a2 and illuminated from behind. mortraits do not exist in a digital form or on paper. just like their characters, they have a body – this body consists of plexiglass (tissue), paint (blood) and light (calls into existence the self, the ego of the characters). there are more mortraits - the ones displayed here are a mere presentation.

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