Sara Perovic’s photography is driven by her interests in perception of space, abstraction, repetitiveness, obsession and feeling of self. She depicts the invisible (Between bodies, 2018), focuses on textures (Palmeral, 2017) and shows nature’s fragility with ethereal photos (I was there, 2015). Her latest project My father’s legs is a mix of concept and emotion, stretching the boundaries between conceptual art and art-as-therapy.
Among several solo and group shows, she founded and curated the fanzine aTree, promoting young photographers (available also at MoMa Library New York, 2011). Sara Perovic currently works as a photographer and architect in Berlin.
Is that me or is it you? Who’s playing now? The more I wondered about memory, the more I remembered my childhood. Most of the details in our memory change within a year, even though many people are assured of their recent recollections. We can’t remember every single detail of every experience of the past, so other memories spill over to occupy these gaps.
In this body of work, I fill these gaps by tailoring my future memories through vivid, now-present images of my daughter’s childhood. Future and past are recursive, interconnected forces. When you let your mind wander, the back-and-forth journey between remembering and imagining can take on a different route. What once seemed dichotomous may later become indistinguishable, releasing itself from the hinges of linear thought. The memories of the past and the dreams of the future unite.