Darija Nonveiller Šesto “Macro and close up”

…the possibility of discontinuity
…objects and phenomena
…to recognise and interpret
…in the domination of an unsettling harmony…

Gallery Curator: Kate Coe
Exhibition Curator: Darija Tripalo
Web: www.thecameraclub.co.uk
Venue: Gallery 1885, The Camera Club, 16 Bowden Street, London, SE11 4DS
Dates: 28th Sepember – 10th October 2020

Darija Šesto, author of the exhibition ˝ Macro and close up˝, uses 20 large-format photographs to examine the possibility of discontinuity, that is, to deliberately achieve a variety of perspectives that seek to be observed from different angles. The motifs of the photographs are objects and phenomena that are not particularly spectacular in real life – things that would not even draw the attention of the average observer, let alone encourage such an observer to capture them on photo.

These are the primary phenomena of life which, above all, the photographer herself has to recognise and interpret in her own way through the distinctive perspective of her camera lens. In this, the author uses a twofold approach: a dominant blackand-white perception of structures, and a diffuse expression of colour that permeates the extrapolated material phenomena. The crux shared by both approaches is reflected in the domination of an unsettling harmony, in which the eye of the observer explores forms and suppressed meanings. The author additionally incites such an approach by leaving the photographs untitled, that is, stripped of any denominators that would allow for easier interpretation.

The affinity towards emphasising structure and the aesthetic possibilities of geometrical and stochastic forms that can be found in the author’s body of work connects these photographs with the optics of New Vision (Neues Sehen) – an avantgarde photography movement that emerged in Germany – which encapsulates visible reality as a construction.

One of the main representatives of this approach, László Moholy-Nagy (1895 – 1946), used photographic experiments to influence interpretations of modern art. He viewed the medium of photography as a path towards objective perception: images created by the photo camera are, with all their truncations and distortions, pure optical representations that are liberated from the meddlesome influence of human subjectivity and the cultural conventions that it rests upon. Such a new manner of observation – in which the camera lens becomes a ˝second eye˝ for observing the world – is based on unexpected frames, an emphasis on the contrast of form and contrast of light, and high and low angle shots. With her depictions of fragments of forms used to present the essential geometricity and contrast of shapes, Darija Šesto herself encourages such an interpretation of reality.

The part of the author’s body of work that includes colour photographs is characterised by a reduction to colour and surface, which together form one whole. In this sense, the photographs are permeated with an all-encompassing purism, while
their content involves depictions of reflections with an emphasis on geometrisation of perception and the reduction of space

The principle of discontinuity that can be observed in this exhibition represents an essential factor in its transcending of mimetic photography, an approach which was spearheaded by American photographer Edward Weston (1886 – 1958) with his still life compositions, especially his quintessential work ˝Nautilus˝.
Damir Tiljak