Places on these photographs are mostly recorded in the artist's journeys, long or short stay, and partly also in the role of a tourist-artist.
In this case they are only used to test the exstensibility of, as well as provocation in the treatment of what you would call a work of art.
A significant portion of this work was created as part of an exhibition in the gallery Lang in Samobor, where images were simultaneously printed and displayed on the gallery wall, but also printed as postcards and sent / distributed to people with instructions to send them to their final destination – gallery Lang.
Photography – printing – mailing in the form of postcards – displaying in gallery. The workflow to which we are accustomed in the standard treatment, thereby got another step.
Utilization and conversion of photography into a useful practical item (postcards), simultaneously ignores a careful and sterile handling of photography as a museum item, but also blurs a clear line of distinction between original and reproduced, as well as valuable and worthless.
Thus, the final work is a reproduction of arrived postcards, some of which have traveled thousands of kilometers in order to arrive on time to their own opening at the gallery Lang. Kilometer of traveling have reflected on the surface of the postcards in the form of stains, fractures, various machine marks, and forming a relief surface.
In addition to the postcard being a sensitive item, its content is exposed to anyone with curiosity. In the case of the gallery Lang where each of the selected senders was introduced to the idea of the exhibition and that audience will engage in close interaction with postcards, the appearance of intimate content in some, puts the postcard into the category of a scopophilic object. By writing on it and mailing it we already agreed to an unfamiliar audience who will read it; is it the mailman or someone in the gallery - it is completely irrelevant.