Pasted on all four walls of a gallery cube or hanging from cloths throughout the gallery, the black-and-white bodies bodies surround the visitors. The viewer becomes another body in this mass of bodies. In their repetition along the walls, it echoes the photograph sequences of Eadweard Muybridge in his scientific studies of the body in motion. But Maja Šofranac‘s interest in these bodies is more in the technological aspect than their mobility. In Silicon Man, for example, the two figures face one another and their bodies are composed of the intricate pattern of connecting wires that make up the inside of a computer chip, or other piece of technology. For Šofranac, our bodies are not only constantly interacting with technology, but they actually become technology. Her imagery quickly transforms from that of a prehistoric human (like those textbook graphics of how apes transformed into mankind) to a post-technologic human.
Not actually that different from Šofranac’s work is Blazo Kovacevic’s work. However, whereas she exposes the interiority of the body, his work exposes the interiority of human objects (trucks, bags, etc.). In the series, Probe I, Kovacevic illustrates handbags with their internal contents displayed through the process of x-ray screening. The work delves into questions of a surveillance state, public versus private rights, and individualism. The bright colors of each purse inject a deceivingly lighthearted Pop Art aesthetic into the works.