“I am driven by an interest in my fellow human beings, who I study constantly.” Evelyn Bencicova (b. 1992), whose work is featured in the current issue of Aesthetica, interprets contemporary life through an existential yet highly curated approach to visual art.
The current exhibition Merror (error/mirror) at Fotografiska, Stockholm, occupies an uncanny space, positioning anonymous figures within sterile architectural environments. A use of cool tones and precise symmetry creates a minimal backdrop for faceless figures to wander, offering surreal playgrounds for intellectual reflection.
Each pared back scenario is articulate and well balanced, yet remains permeated by a sense of unease. The artist explains: “My works consist of many layers, whether it is a case of taking a portrait or, for example, creating a work in which the bodies of the models, usually my friends, form symmetrical architectonic compositions. On the surface this is harmonious but there are elements, often absurd, which cause friction, which means the image is sometimes perceived as being unpleasant.”
For example, the clean aesthetics of Artificial Tears – which can be seen in Aesthetica Issue 83 – centre around a female figure who – alienated from the lens – is transfixed by performative emotion. Making use of mirrors, the images assesses what it means to exist within today’s increasingly artificial world.
For Bencicova, who sees the image as a means of formulating creative content, stripping the work back is vital. She continues: “In my work processes I am very precise and I control things in an extremely methodical way… I peel away almost everything. Only then is there room for what I want to express.” The resulting scenarios are delicate yet conceptually rich, reflecting the singular meetings between artist and subject. “For me, the unique encounter with the person I’m photographing is absolutely crucial.”
Blurring the lines between fine art and commercial practice, Fotografiska’s show brings together the series ASYMPTOTE, Taste Of Leaving, Artificial Tears, Close, Ecce Homo, (an)organic, Faceless, Dior and Alice, offering a comprehensive look at the artist’s oeuvre, which includes work for international clients such as Gucci and Cartier.
Until 23 September. Find out more here.
1. Evelyn Bencicova, Artificial Tears. Courtesy of the artist.
2. ASYMPTOTE. Photography: Evelyn Bencicova. Video: Adam Csoka Keller. Sound: Arielle Esther
3. Evelyn Bencicova, Artificial Tears. Courtesy of the artist.
4. ASYMPTOTE. Photography: Evelyn Bencicova. Video: Adam Csoka Keller. Sound: Arielle Esther.