The idea that photography “steals the soul” originates from cultural beliefs in various societies, particularly among some Indigenous peoples, where the act of capturing someone’s image was thought to remove or diminish their spirit. This belief often arose from a profound connection between the self and one’s physical or visual representation, where the photograph was seen as more than just a reflection – it was a part of the self, taken and frozen in time.

 

In Nemanja Maraš’ “Reflections”, this tension between photography as a mirror and the subject as interventionist becomes central. Through a series of self-portraits and observations, all layered with visual interventions, Maraš reclaims the photograph as an active participant in his process of self-recognition. Rather than allowing it to “steal” or diminish, he transforms the captured image into a site of exploration and transformation, creating a dialogue with himself.

 

Understanding who we truly are is a lifelong journey – what more do we really possess? Maraš’ works challenge the notion of a fixed identity, presenting each image as a reflection of a self in constant motion, reshaped by introspection and creation. His art offers fragments of self-discovery, leaving the final, puzzling assembly in your hands.