We have created a world so sterile, so senseless. We have lost our connection to the larger ecological environment. In October of 2021 I planted a specific type of garlic crop, Istrian Red Garlic, in the Netherlands. The Association of Producers of Istrian Garlic was officially founded with the aim of granting EU protection status for this specific crop. This is where my interest arose. I planted the significant clove in a way that disregards its specialty, and it grew, better than I could have ever imagined.

I am fascinated by light. It escapes every intention to be controlled. It is always following its path and we are fooled when we think the opposite.
For a long time we have subjugated those around us, organisms, phenomena, laws. This is where the story begins, a story that is taking place in a box. This is the place that tracks time, every day and every night, it tracks the concept of time as well as simple process of growth.
This is my journey of proving the wrong, that the Istrian Garlic will grow no matter if it will lose its status or not, that light will never be fixed without a human hand. This is the story that opens questions about control, how we are controlling the environment trough artificial shortcuts, but still relying on natural laws. We are working for it and against it. This is an intervention in the organic space, it disrupts the natural order but on the other hand it provides life, it can stimulate change.

The project is brings together installation, photography and spatial experience. Growbox, the home of blossoming garlic acts as a tool for production of images as light sensitive chemicals are fixed on the changeable glass plates in order to track light transitions. The process of applying gelatine on glass becomes a pillar for understanding human persistence in materialising light rays, and observing how filtering certain light frequencies affects both chemicals, their shade of blue, and growth of garlic. This work offers a dialogue between the audience and the light, it allows the audience to understand their position in the work and how without them, this process would be left in the dark.

Dora Ramljak

(21/02/2001, Pula, Croatia)

Coming from Croatia, my view on photography has always been rather pragmatic, practical. To question its purpose, to give it another purpose, another outlet has led me to create a methodology in which I am allowed to fearlessly explore far beyond medium’s borders. Tactility and sensual perception are important constants in my methodology, motivating me to explore beyond visual mediums, engaging among sound, installation, performance and space design .

For me necessity to produce is deeply rooted in desire to grasp reality and deconstruct its fixed systems, to decontextualise and challenge their harmful nature.

My personal interests lead the way to references found in art history, literature, culture, with the goal of providing an objective context. Engaging in heavily research based practice allows me to introduce layered nature to all of my works. This way of working allows democratic and educational nature of art to become a key in my work, an accessible entrance into discussion and play.

A restless thread underlying my personality, being someone who is fascinated by nature’s momentary occurrences, intuition is a key element to my practice, a practice which understands the importance of contexts of time and space. This traits motivate my dedication to experiment, to experience, to learn and relearn.

Striving for a sense of softness, the works provide a critical perspective on our society and its structural complexity. Creating spaces that are working in favour of interrupting regularity of time allows me to provide a place where care, dialogue and reflection are desired outcomes. Still, each work behaves as nature and our forgotten humane side, it shows you what you once may have witnessed, but gives you freedom to reclaim your being and further position yourself in the now, in the future, revisiting the past.