AB AETERNO (From time immemorial)

The day the Earth – nature began is not known and will never be. But there is something that is known for certain: that the female body has been respected from time immemorial   (AB AETERNO), the reasons being its giving birth and ensuring the continuation of the species, as well as its immense beauty. All of this has been and will be portrayed, praised, and worshipped by artists for millennia.

On these photographs, the beauty of the female body is established as a real, yet tender and fragile element of nature. This series of photographs is not to be positioned in the field of abstract art, although the category allows much freedom and submits to the viewer's imagination. Rather, it depicts the subtle relationship between the woman and the environment we live in. And, what a coincidence, the woman is in the nude, which is a way of emphasising the contrast between cold, strong, natural and artificial yet transient forms and the softness of the immortal female body. The face, however, is of no consequence, the body being the source of vitality for descendants.

The photographs were taken with light producing a play of shadows on the naked female body. Made to stand out by the light, lines in art stand for aesthetics and beauty, either in the work of a simple artist or a world-renowned author.

About the author:

Miha Kacafura committed himself to photography in 1966 when, as a little boy, he held in his hand a simple automatic analogue camera for the first time. Family and landscape photographs began piling up. During secondary school, when he attended a year-long course run by Oskar Karel Dolenc, and later as a university student he was focusing on portraits and people in motion, and seeking their expressive actions. Until now, he has continued to explore the interaction between the camera and the person portrayed.

For the past twenty years, he has also been working intensely on fashion photography and nudes. The latter particularly occupies a great deal of his attention. He seeks to emphasise the body and its contours with the play of natural or artificial light and Mother Nature's product of top design. He mainly uses the black-and-white technique. He stands back from the reality or credibility of the moment, thus bereaving it of its documentary dimension that can be seen with the naked eye. His message is that the nude has to be seen as a whole, as the creativity of white, grey, and black surfaces that supplement the photographed moment with the aesthetic sense of experiencing the photograph. This does not mean, however, that an occasional colour photograph never appears in his oeuvre.