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In this essay I elaborate self-portraits in my private space, in which body and environment, subject and context, mix together. The photographs transport us to a deeply emotional environment, sensual and even, occasionally, disturbing. If the trauma of a social experience - as the horror of the war, in the case of Serbia - can not be overcome collectively by the recognition of facts, how it echoes in a private and intimate sphere? In this sense, this essay is also resistance against forgetting the facts and erasing the memory.