An artist who is able to transform images and spaces into enthralling objects. Vlatka Horvat, with a curriculum as a performer, always puts the body at the center of her photographs, videos, installations and collages.
The spark of each work is a playful détournement that poses an obstacle to our body’s ability to know and discover. Visible and invisible are inverted. Space, time and reality fragment into pieces of a puzzle that must be recomposed.
In her latest series of collages “Up in Arms”, on display at Galerie Anne de Villepoix in Paris, Horvat re-elaborates family photos shot in the 60s and 70s in socialist Yugoslavia, when ideals of solidarity and progress were still strong.
The work continues on from previous series “With the Sky on Their Shoulders”, in which the artist would intervene on the photos in such a way as to try to show a void and sense of disillusion through cut outs and folds on the silhouettes of the subjects.
With “Up in Arms” Horvat concentrates on the symbolic element of arms, detached from the subjects that are cancelled out as if they were lost. The image becomes the echo of a bygone time and what remains is just the tension between surfaces, between two-dimensionality and three-dimensionality.
An artist who is able to transform images and spaces into enthralling objects. Vlatka Horvat, with a curriculum as a performer, always puts the body at the center of her photographs, videos, installations and collages.
The spark of each work is a playful détournement that poses an obstacle to our body’s ability to know and discover. Visible and invisible are inverted. Space, time and reality fragment into pieces of a puzzle that must be recomposed.
In her latest series of collages “Up in Arms”, on display at Galerie Anne de Villepoix in Paris, Horvat re-elaborates family photos shot in the 60s and 70s in socialist Yugoslavia, when ideals of solidarity and progress were still strong.
The work continues on from previous series “With the Sky on Their Shoulders”, in which the artist would intervene on the photos in such a way as to try to show a void and sense of disillusion through cut outs and folds on the silhouettes of the subjects.
With “Up in Arms” Horvat concentrates on the symbolic element of arms, detached from the subjects that are cancelled out as if they were lost. The image becomes the echo of a bygone time and what remains is just the tension between surfaces, between two-dimensionality and three-dimensionality.
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