BJANKA KADIC: EPHĒMEROS

Kadic's artistic journey spans various genres and visual languages, characterised by an ever-evolving style that tirelessly seeks to capture the most probing representation of the subjects she explores. Utilising formal compositional techniques, she constructs narratives that comment on the realities of contemporary urban life. Her landscapes seamlessly blend the sublime with the topographic, and she adeptly manipulates colour to craft harmonious and homogenous palettes.

Kadic's image-making seamlessly integrates a formalist visual aesthetic, which gravitates towards order and simplicity, with a purely photographic vision that embodies a sense of fragmentary allure and ephemeral glimpses. In her engmatic photograph titled "Girl and Sea," the little girl stands in front of the big, brooding sea that recalls Sugimoto's black and white landscapes, offering a unique perspective on the interplay between humanity and nature. Her images often tread the delicate line between representation and abstraction.

In her urban and natural scenes, Kadic frequently captures moments from a considerable distance, often from elevated viewpoints, or occasionally from low angles, allowing the viewer to immerse themselves in an expansive space that unfolds. In the majestic "Hole," two silhouetted figures in a tall apartment block give a nod to both Edward Hopper and Andreas Gursky, drawing viewers into a world where the ordinary becomes extraordinary.

Empty spaces, flat surfaces, and monochromatic planes resonate as recurring themes within her oeuvre. These elements cultivate a contemplative atmosphere, stripping away distractions to reveal profound stillness. As Thomas Mann once noted, 'Space, akin to time, encourages introspection by liberating us from our immediate surroundings, transporting us back to our primordial, boundless state.'

Within this limitless space, Kadic often introduces a focal point—a human figure, either static or caught in the act of movement. This preference for solitary figures aligns with existentialist philosophies articulated by Jean-Paul Sartre, emphasising the singular and unique essence of each individual "thrown into the world", tasked with discovering their own singular and unique meaning. Kadic's solitary figures in deserted urban and natural landscapes speak to human vulnerability in the face of the enduring grandeur of nature or the imposing architecture of urban environments. A solitary figure signifies transience; while the world remains in constant flux, figures pass through. Nevertheless, these solitary figures do not merely represent loneliness or isolation; instead, they serve as metaphors, inviting us to ponder the essence of our humanity and the depths of our knowledge.

Bjanka Kadic's (b. 1958) practice manifests as a contemplation of the dynamic metamorphosis inherent to our surrounding environments, be they urban landscapes or the more bucolic countryside. Kadic's discerning eye often captures the transmutative qualities of light, which she distills through a meticulously curated monochromatic aesthetic. Her visual compositions, characterised by an austere and uncluttered design, deftly accentuate the narrative enigma latent within the visual tableau. Her oeuvre is underpinned by a fascination with the evanescent nature of existence and the boundless potential for storytelling embedded within the medium of visual representation. It is within the confines of her imagery that form and space coalesce, giving rise to a distinct visual lexicon that constructs its own immersive narrative landscape.

Kadic graduated in photography from the University of Westminster (BA) and the University of the Arts (MA). Her work has been showcased in numerous prestigious exhibitions over the years. Her participation in the 2007 Istanbul Photography Biennale marked a significant milestone in her career, highlighting her international recognition. Prior to that, her work was featured in the 2006 exhibition 'Twisted, Cognitive and Sublime' at Escape Art in London, further solidifying her presence in the vibrant London art scene. Kadic's artistic journey also includes exhibitions like 'Home and Abroad' at the Croatian Cultural Centre in London (2004) and 'Creative Awareness' at The West End Arts Centre in Aldershot (2003). Her exhibitions at esteemed venues such as Cotton Galleries in Bermondsey, London (2002) and 100 Park Lane in London (2000) have contributed to her well-established reputation in the art world. Additionally, her work has been included in publications like "Ta(l)king Pictures" (2004) by S. Williams, K. Newton, and C. Fehily, as well as "Engendering the City: Women artists and urban space" (1997) by Marsha Meskimmon, further emphasising the impact of her contributions to the field of photography.