statement
"When photography is conceived and used as a language, there are two potential paths that lead to two opposing poles.... art and science, poetry and journalism, life and taxidermy, found and fabricated, intention and accident, illusion and reality, fact and fancy....photography stands, wondering, at the exact center point where the two paths veer away from each other."
Phil Harris, "Fact, Fiction, Fabrication".
Body language interests me, especially as can be fathomed from our material surrounds. Bits of seemingly life-less reality stripped and hijacked from their context seem capable of expression, of communicating something to us. Contemplating these fragments of 'objective reality' more closely they become strange, mysterious even, providing us with an ever expanding and dusty mirror to our psyche.
The material world is complex and layered containing both harmonious and incongruous, if not chaotic detail. Exploring these 'layers in the real', I find myself honing in on space dividing structures such as glass, mesh or fences and on the subversive traces these may display be they of nature or human action, of use or abuse. Paradoxically, whilst providing order, these structures tend to tease the eye with spatial illusions. As thresholds between visual fields, they simultaneously hide and reveal realities that lie behind and in-between, their fusions and confusions dissolving into forms and gestures, a meditation.
Scenes in my photographs may appear purposefully integrated, as if deliberately arranged or manipulated. To me however, the unique power and resonance of a photograph lies in its 'frisson' with reality, the knowledge that it was plucked from the real world, that someone's psyche interacted with and interpreted a particular piece of reality at an inspired moment. It is the metamorphosis that constitutes a photograph which keeps me searching from the corners of my eye.
@ All images copyright Krystina Stimakovits.
Phil Harris, "Fact, Fiction, Fabrication".
Body language interests me, especially as can be fathomed from our material surrounds. Bits of seemingly life-less reality stripped and hijacked from their context seem capable of expression, of communicating something to us. Contemplating these fragments of 'objective reality' more closely they become strange, mysterious even, providing us with an ever expanding and dusty mirror to our psyche.
The material world is complex and layered containing both harmonious and incongruous, if not chaotic detail. Exploring these 'layers in the real', I find myself honing in on space dividing structures such as glass, mesh or fences and on the subversive traces these may display be they of nature or human action, of use or abuse. Paradoxically, whilst providing order, these structures tend to tease the eye with spatial illusions. As thresholds between visual fields, they simultaneously hide and reveal realities that lie behind and in-between, their fusions and confusions dissolving into forms and gestures, a meditation.
Scenes in my photographs may appear purposefully integrated, as if deliberately arranged or manipulated. To me however, the unique power and resonance of a photograph lies in its 'frisson' with reality, the knowledge that it was plucked from the real world, that someone's psyche interacted with and interpreted a particular piece of reality at an inspired moment. It is the metamorphosis that constitutes a photograph which keeps me searching from the corners of my eye.
@ All images copyright Krystina Stimakovits.