Surprising photos

Most people's view of the image formed in photographic media is limited to the transfer of the original object to the image plane. This view then traps us in the understanding that photography is merely a recording medium associated with light from objects. The emergence of this point of view is highly anticipated because since the beginning of the discovery of photography, the conversation revolves around point of view, light intensity processing, speed control and ASA selection. The mechanical working process with the camera then becomes a convention, although even then the simplicity of the realization of the idea is the result of mastery in choosing a motif or shot or the play of the lighting process and viewing angle.

Firmly established conventions will be shaken when you see the photographic works of Ivana Stojaković exhibited at the exhibition called "Scenting" - experimental conceptual photography at the Koral Art gallery, Yogyakarta, which will be held from July 21 to 28, 2009. At first glance, the works look so simple, even poor, because the exhibition consists of only three series of works called Vashar, Self-Portrait and Cage. The technical execution looks so mediocre and it can be said that there is no excitement. That simplicity will confuse most people, who still stick to conventions. Despite the confusion faced by the viewer, it is clear that the visual form has deviated from the conventions we have recognized until now.

The series of images presented in each series of works gives plenty of space and possibilities for interpretation. This of course will not show up in a photo with conventional images like in photos of beautiful landscapes. The viewer in front of a landscape painting with a naturalistic representation will quickly feel satisfied, but it becomes difficult to drift into other interpretations. In this category, photographic works often seem quiet, mute, tasteless and even cold. It is different with the images of the series of photographs created by Ivana, which created a representative discourse rarely seen before in the field of photography.

When you look at each photograph, the beauty is not in visual form, but in the form of a narrative or textual presentation of what the photographer experienced. Through her work, Ivana wants to tell her experiences, memories and struggles to escape from reality. In the work entitled Vashar, the motifs are common objects that we often see in children's playgrounds. One of the photos shows a pile of toys in various colors combined with a stained glass window in an old building. All the noise and crowd, which on the one hand can represent or associate with the shocking war events in Serbia, cause a feeling of anxiety. There is a strong desire to get out of all the turmoil, although at first it seemed so tempting, but it turned into a trap. The burning desire to break out of the entanglement of the light that is so blinding is presented in another work called The Cage.

The last work, entitled Self-Portrait, is presented in the form of a series of 21 frames depicting Ivana's faces. Sometimes they look visible, sometimes indistinct, as if they are blocked by a thin layer, and some even combine with other faces wearing masks. Ivana's face is not narcissistic with the intention of showing her figure, made up, beautified or posing like a model. Her beauty is actually covered by a thin layer that blocks or fights other faces wearing white masks. The presence of the masked face so strongly takes on the appearance of a guide who leads her into the unknown layers of her own being. To show her existence, Ivana often uses a mask to hide all the mysteries behind her face. All the beauty behind his ever-changing face along with all the charm radiating from her body often turns into a disaster.

From the presentation of these works, of course, we are faced with the reality that artistic style in photography is not limited. The exhibited works show openness and remove boundaries that were thought to be impenetrable, especially in naturalistic and realist paintings. The presented reality of this work can provide an incentive for "freedom" in expression. The artistic expression of these photographic works also offers a responsibility in the development of photographic media in Indonesia, which is considered to be developing quite slowly. What the mainstream offers is still limited by the beauty of the visual form, while the question of the content behind the work itself is still neglected. All photographic works that are considered to have deviated from the old conventions actually become an attraction, provide freshness and open new horizons, especially for young activists involved in photography. In contemporary discourse, of course, it is often discussed that the choice of technique and medium should not be questioned because the most important thing is the end result and representative achievement.

Asep Deni Iskandar
Photographer