To elaborate briefly on the 18 works in the catalogue, they are all considered part of one photography exhibition, although, in composition, they are technically digital collages made up of Dariia’s underwater photographs. What began as an effort to separate herself from her work in editorial and classical fashion photography became the experimentation of making all elements within a composition the main subject. This later evolved into photographs distancing themselves from themselves, and a questioning of the medium and Dariia’s relationship with it.
In turn, the process of creating these artworks revealed both answers and more questions (as well as an interesting connection to Dariia’s home birth which she can tell you more about). The frames captured were then manipulated in shape, size, and form, and, in some works, printed into plastic blobs which occupy varying perspectives of their surroundings. This blended collage style is, no doubt, informed by her background as an oil painter. When all works are assembled together, an empty room blossoms into the world of textures painted by her lens. Her photography becomes an entirely new environment we enter into.
It is important to note that all the photographs in this exhibition were taken in Berlin, a city both chaotic and free, where souls come to wander about and if they’re lucky, successfully recreate themselves. With New Reflections Dariia has provenly done so, and in conjunction with her self-re-creation, now finds herself leaving Berlin. Though not due to her own accord but, rather, the city is spitting her out. These 18 works capture this metamorphosis of Dariia and serve to document it; as she came to Berlin during a very particular period in her ‘20s, during a very particular time in the world. We see how she took from the city, gave to the city, and is now made to depart.