Swimming Pools
Photographer Mária Švarbová has an enduring fascination with the functionalist architecture of Soviet-era buildings, largely inspired by a 2014 visit to a closed swimming pool in Švarbová’s native Slovakia. Discovering themes of female empowerment and a more intimate view of the relationship between models, we see her subjects frozen in the composition, the swimmers as smooth and cold as the pool tiles, with colors softly vibrating in a dream-like atmosphere.
Mária Švarbová explores different strands of thematic content stemming from her fascination with Soviet-era architecture and swimming pools. However, despite the retro setting, the pictures somehow evoke a futuristic feeling as well, as if they were taken somewhere completely alien. Her work reconceptualizes the functionalist architecture of this period as a futuristic and highly stylized space with visual purity and cool detachment. An intimate and symmetrical view of the relationship between models and the space around them is informed by her artistic expression of movements in feminism and the BLM movement.
Born in 1988, Maria Svarbova resides in Slovakia, where her artistic journey unfolds. Despite her academic background in restoration and archeology, photography emerges as her preferred medium of expression. Since 2010, Maria's innate photographic instinct has captivated audiences worldwide, earning her international acclaim and establishing new standards in photographic artistry. Recipient of numerous prestigious awards, Maria's solo and group exhibitions consistently position her at the forefront of contemporary photography. Her innovative approach has garnered attention from renowned publications such as Vogue, Forbes, and The Guardian, solidifying her status as a pioneer in photography.
Swimming Pools
Photographer Mária Švarbová has an enduring fascination with the functionalist architecture of Soviet-era buildings, largely inspired by a 2014 visit to a closed swimming pool in Švarbová’s native Slovakia. Discovering themes of female empowerment and a more intimate view of the relationship between models, we see her subjects frozen in the composition, the swimmers as smooth and cold as the pool tiles, with colors softly vibrating in a dream-like atmosphere.
A Map of the Shadow Self
In the minutes after the sun has set or just before it rises, the world seems to lose its dimension. Shadows disappear, and the sky takes on a blue heaviness that seems to flatten the landscape into a single, monochromatic plane. For Gabriel Isak, this blue hour can be understood as a visual synonym for almost a decade of his life.
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