Bio­gra­phy

Eva Gantar is an archi­tect and pho­to­gra­pher. Her approach to pho­to­gra­phy is con­cep­tual. The tran­si­to­ri­cal moment and the shift of space and time, are for the archi­tect and pho­to­gra­pher Eva Gantar an essen­tial part of her work. Through dif­fe­rent methods she attempts to cap­ture the micro­sco­pic moments of ever­y­day life and make them legi­ble. With sen­si­ti­vity and humor, she draws our atten­tion to absen­ces, objects and pla­ces with pecu­liar syn­er­gies and the resul­ting of unusual moments that arise.
The point of depar­ture for the series “Ice cubes” (2008) and “Cross­roads” 1 (2009) is an arial view of a con­ven­tio­nal street scene with pede­stri­ans. The street’s inter­sec­tion con­trols the speed of the city bet­ween standstill and move­ment. Also in the pho­to­gra­phi­cal sense, the image is fro­zen. It is sub­ject to che­mi­cal influ­en­ces to the point of alte­ring its phy­si­cal state until it com­ple­tely dis­sol­ves. The image is pee­led away layer by layer and repea­tedly pho­to­gra­phed. The last visi­ble rem­nants are richly con­tras­ting, unch­an­ge­able sec­tions of the image.
The series “Bre­ak­fast” pro­vi­des a pho­to­gra­phic ana­ly­sis, that allows con­clu­si­ons to be drawn about cha­rac­ters, life­styles, social and cul­tu­ral codes wit­hout the actors being shown. “Squeeze me tight“ (2019) are tem­porary objects con­sis­ting of thirty kit­chen spon­ges. They were taken out of con­text and become the main prot­ago­nists of her pho­to­gra­phic work. Used and squee­zed like they were left behind, in kit­chens, sani­tary rooms of apart­ments, stu­dios, hotels, restau­rants and other public insti­tu­ti­ons. They were collec­ted and recor­ded with a medium for­mat camera. Sen­si­tively and seis­mo­gra­phi­cally, they reflect the ener­ge­tic state of mind of their aut­hors and are lite­r­ally an expres­sion of the fact that every action, no mat­ter how sub­tle, lea­ves a mark.

Cur­ri­cu­lum Vitae

Port­fo­lio