Dazed expressions of young children, a couple caught in the heat of passion and a group of partying pals goofing off in a car: the varying layers of life end with its tainted reality. Even a young boy enjoying friendship, in one of the stories, carries an unsetteling complexion as his eyes roll away, lost towards the back of his head. In Post-Soviet world, Anya Schiller’s art depicts the strange, and at times, harmful realities of modern day. Purity, innocence and pleasure die young in this world. The collection of ten photos focuses on life from childhood to twenty-somethings caught in a mist of desperation, emptiness and fear. Just as an image of a nude woman staring out a window as the sun sets, she, like her community, hopes for companionship, love and comfort. Schiller suggests her subjects long for beauty in this dark world.
The absence of physical bodies in Pola Ether’s foursome collection of landmarks taken in the Bulgarian Rhodpe region stench of human contact. Could these vacant places reveal where the erotic youth commit their ‘dirty deeds’? Esther catches the purity of these snap shots in marked alley ways and run down convenience shops. Images of an outdated, unrealistic culture juxtapose to the idealistic visions enforced upon society. The artist explains, “they portray certain environment but mostly the energy of people who passed through, [and] left the mark, the sign in time”. Her political statement reflects the abandoned life Post-War, and re “Soul Suckers” the ability to find love onward. Short and sweet – Esther sees more than emptiness in these photos. Rather, she experiences life and the legacy of its passions.