Hellen Levitt's first subject was chalk paintings in the streets of New York and the kids who made them.
Sometimes the kids were gone …
"perhaps the world that these pictures documented never existed at all, except in the private vision of Helen Levitt, whose sense of the truth discovered those thin slices of fact that, laid together, create fantasy." (Looking at Photographs - by John Szarkowski)
Nevertheless, a human presence is always searched in a photograph no matter which are the obstacles.
In Stela's picture this search is haunting but liberating at the same time. The children have fled, but the pattern of their spell remains.
And at this exact moment these captures go beyond the docu-art of Levitt's children.
We examine closely the distorted (destroyed) reality of yet another post-communist (post-industrial) suburban fabrication.
And the temporal halucination offered by photography takes its full meaning: In the Balkans, we are forced to witness the longest transition ever, where the nostalgic innocence meets, and resists to, the embelishment of quotidian.
An undeclared resistance to off-the-rack lives and to shopping-Mall contained consciousness.
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