One can only notice the importance focused on the subjective perception of reality present in Metka Vergnion’s photographic activity. She uses photography as a tool to visualize concrete ideas and reflects her intimate impressions. This can be found in examples of her early black and white series of autoportraits and other motives, that Metka Vergnion transforms into color, using various chemical procedures as well as solarisation and hand painting directly on photographic paper. In the 1980’s she started concentrating her work on color. Even in the most conventional photographic series, the viewer can get a feel for a certain refined and meditative photographic sensation mixed in with a concrete state of mind and additions of poetic accents that create an elusive reality. This state of mind was reflected in the Japanese moments series and intensified with each new visit to Asia.
If we return to the chemical procedure and hand painted black and white photographs, the image, which has been turned into color, clearly doesn’t have the same contex anymore. There is creation of a new dimension. Metka Vergnion uses modern technology and computer based-software in her most recent works in order to transform pictures into authentic works of fine art, without overlooking the influence of painting, in particular – abstract art. This is reflected in the Passers-by series.
The narrative concept of the Passers-by consists of introducing chosen details and fragments from urban surroundings, including scattered human figures, moving within empty stages. These same figures are metamorphosing through computer interventions into rainbow like shadows, as if they were painted with intensive artificial light. The descriptive feel of analog picture is preserved, nevertheless the documentary-like reality of the photographic scene has been changed through the use of computer-generated manipulations, and a whole new harmony arises. The luminous and tonal transitions of black and white photography are still perceived and further enhanced by vibrant, unusual color combinations and contrasts. The viewer can simultaneously envision either accents of playful aesthetics, or simply the author’s tendency to explore relationship between light and shadow, motion and stillness, photographic field and apparent photographic contour “sketch”. By exploring dialectical relationship between real and imaginary, she succeeds to connect both into suggestive photographic image.
Translated from Slovenian by Metka Vergnion