When we ‘see’ a landscape, we situate ourselves in it (Berger John, 1972: 11).

When we ‘see’ a chair we position ourselves on it.

The chair is an innately human object. Its occupancy within the space suggests a human presence or, more specifically, a recent absence.

Djani Ivancevic’s photographs are primarily concerned with the symbolic function of the chair and its ability to embody the characteristics of its sitter. The chair is personified, through cinematic gestures, in relation to its space. It enacts a variety of situations; igniting a poignant emotional context, which the viewer can relate to.

Without the chair the space would remain empty. There would be no suggested narrative. There would be no causal relationship between the space and the viewer.

Upon viewing these images we are persistently invited to sit down; to occupy the space of the previous sitter. But, these are not places of rest. They are solitary spaces of contemplation and turmoil. An increasing feeling of unease circulates the abandoned chair. Its vacant stance suggesting the story has ended.

The viewer remains reluctant and unwilling to take the seat being offered. It is as if the act of sitting will entrap the mind and body; compelling one to become absorbed in a psychological interrogation; one in which the outcome is predetermined, and final.

Sarah Edmondson

artist / art historian