Drawing with the camera

The exhibition of black-and-white photographs by Hristina Milanova (Bulgaria, 1976) was initially intended to be accompanied by music she created specifically for the occasion in collaboration with the English composer and producer Sam Williams, to emphasize—in terms of time and atmosphere—two of the key aspects around which her works revolve: organic and architectural constructions. Although these musical pieces will not ultimately be included (they will be featured in her upcoming exhibition as part of PalmaPhoto), the very initiative to present them alongside the photographs gives a sense of the universe that interests the artist.

It is the temporal structure that underlies both artistic facets: in the motifs chosen for his photographs, natural forms stand out for their geometric configuration (the pinecone, pine needles, tree branches…). as do his artificial forms (buildings, staircases, urban landscapes, piano keys…). But he introduces a temporal action onto them that leaves a mark on the image—one made possible only by playing with the mechanical possibilities of photography, that is, with the exposure time. This temporal factor, characteristic of music, adds geometric lines to the image that once again emphasize this structural element—which is also the foundation of musical composition.

There are also symbolic references in the inclusion of natural elements—such as water and wind in the musical pieces discussed and in the images depicting knotted ropes. The latter, as we are told, allude to the constraints imposed by power that restrict freedom of action and thought. But since this interpretation is not explicitly stated in the work, it leaves room for this icon: its semantic richness lends itself to being associated with either union or oppression. In this case, it is the image’s inherent expressiveness that takes precedence over the artist’s intention.

Review Georgina Sas 2010