Nives Papandopulo: V senci, iz sence… /

Črno-bela fotografija že od nekdaj nosi pridih nostalgije in prikliče duh preteklih časov. V delih Nives Papandopulo kontrast črnega in belega ne deluje zgolj kot estetski element, temveč postane sredstvo pripovedovanja, ki gledalca vodi v svet med domišljijo in resničnostjo. Igra svetlobe in sence oblikuje prizore, podobne filmskim in/ali pravljičnim kadrom, v katerih sence prevzamejo glavno vlogo.

Vsebina fotografij se ne izčrpa v tem, kar je vidno na prvi pogled; ob daljšem opazovanju zaznamo večplastne vizualne vzorce in skrite pomene. Njena dela nam ponujajo možnost igre prepoznavanja skrivnih znakov v oblakih, sencah in krajinah. Tako na primer v delu V galopu temna silhueta grmičevja zariše lik konja, medtem ko na fotografiji Španjulet iz oblakov dima vznikne podoba ženske. To iskanje in prepoznavanje oblik odpira večplastno komunikacijo z avtorico ter nas prenaša v otroško sanjavo domišljijo in igrivost. Vesela lahkotnost izžareva iz slike Variacije, kjer skok v vodo postane skok v svet imaginacije. Eden od ponavljajočih se motivov v njenih delih je lik skrivnostnega moškega s klobukom, ki tava po pustih pokrajinah. Njegova enigmatična prisotnost evocira občutek odtujenosti in nas povezuje z eksistencialističnimi temami iz književnosti in filozofije. Te pokrajine s svojo prostranostjo in intenzivno svetlobo spominjajo na alžirske prizore iz Camusove zbirke esejev Poletje (1942), v kateri se iskanje smisla prepleta z mediteranskimi vizurami. Srečujemo se z melanholijo in osamljenostjo, z notranjim bojem iskanja smisla in lepote kljub zunanji surovosti. Ko se naši poskusi, da bi našli smisel v tradicionalnih vrednotah in verovanjih, izjalovijo, občutimo odtujenost, ki nas žene k iskanju. Nenehno iskanje smisla, prežeto z občutkom ločenosti od drugih ljudi in sveta, nas vodi do občutka odtujenosti od lastne identitete. V mnogih kadrih je to čustvo izrazito prisotno, še posebej v seriji osamljenih senc. Na sliki Vrata se zgostijo trenutki ločevanja; vrata, ki se bleščijo v soncu na prazni plaži, v nas vzbudijo jesensko otožnost. Poletna vznemirjenja so mimo in sprijazniti se moramo s prihodom jeseni, s staranjem. Portret njenega umirajočega očeta, pesnika Krešimirja Stanišića, pusti globok vtis. Z lirično prefinjenostjo je ujet trenutek njegovega slovesa od tega sveta, ko z zaprtimi očmi, uprtimi proti nebu, vpija zadnje sončne žarke. Kljub teži trenutka vlada občutek umirjenosti, sakralna tišina večnosti in povezanosti z naravo. Ob tej podobi, ki odraža žalost slovesa, samoto in soočenje s smrtnostjo, ostanemo ganjeni.

Nives Papandopulo nas spominja na moč upočasnitve, na vrednost detajlov in tišine. Pogled njene kamere je pogosto usmerjen v nebo, kar nas vnaša v stanje lebdenja, kadri oblakov pa poudarjajo temo minljivosti in nedoločenih prostorov. Njena dela so zamrznjeni dragoceni trenutki, iztrgani iz živahnega traku življenja, svojevrstna meditacija o toku časa. Prevzeta od samega življenja nas vabi, da se ustavimo, prepustimo sedanjosti in odkrijemo tisto, kar pogosto spregledamo – skrite oblike, neizrečene zgodbe, subtilno lepoto in potencialni pomen, ki se skriva pod vsakim na videz povsem običajnim prizorom.

Nives Papandopulo: Within the Shadow, From the Shadow

Black-and-white photography has always carried a note of nostalgia, evoking the spirit of bygone times. In the works of Nives Papandopulo, the contrast between black and white functions not merely as an aesthetic element, but as a narrative device that guides the viewer into a world suspended between imagination and reality. The interplay of light and shadow shapes scenes reminiscent of cinematic and/or fairy-tale frames, in which shadows assume a leading role.

The content of these photographs is not exhausted by what is visible at first glance; rather, through prolonged observation, layered visual patterns and hidden meanings begin to emerge. Her works offer the viewer the playful opportunity to recognize secret signs in clouds, shadows, and landscapes. For example, in the work At a Gallop, the dark silhouette of shrubbery outlines the figure of a horse, while in the photograph Cigarette, the figure of a woman emerges from a cloud of smoke. This searching for and discovering of forms opens a multilayered communication with the artist, transporting us into a childlike realm of dreamy imagination and playfulness. Joyful exuberance bursts from the photograph Variations, where a leap into the water becomes a leap into the world of imagination. One of the recurring motifs in her work is the figure of a mysterious man wearing a hat, wandering through desolate landscapes. His enigmatic presence evokes a sense of alienation and connects us to existentialist themes found in literature and philosophy. These landscapes, with their vastness and intense light, recall the Algerian scenes from Albert Camus’s essay collection Summer (1942), in which the search for meaning merges with Mediterranean vistas. We encounter melancholy and solitude, an inner struggle to find meaning and beauty despite external harshness. When our attempts to find meaning in traditional values and beliefs fail, we experience a sense of alienation that drives us to search further. This constant search for meaning, permeated by a feeling of separation from other people and from the world, ultimately leads to alienation from one’s own identity. In many of the frames, this emotion is strongly present, particularly in the series of solitary shadows. In the photograph The Door, moments of separation are condensed; the door reflecting sunlight on a deserted beach evokes an autumnal melancholy within us. The excitements of summer are over, and we must come to terms with the arrival of autumn—with aging. The portrait of her dying father, the poet Krešimir Stanišić, leaves a profound impression. With lyrical refinement, the moment of his farewell to this world is captured: eyes closed, turned toward the sky, absorbing the last rays of sunlight. Despite the gravity of the moment, a sense of calm prevails—a sacred silence of eternity and a deep connection with nature. We are left deeply moved by this image, which reflects the sorrow of separation, solitude, and confrontation with mortality.

Nives Papandopulo reminds us of the power of slowing down, of the value of detail and silence. Her camera lens is often directed toward the sky, drawing us into a state of suspension, while images of clouds emphasize themes of transience and undefined spaces. Her works are frozen, precious moments torn from the rapid reel of life—a kind of meditation on the passage of time. Absorbed by life itself, she invites us to pause, to surrender to the present moment, and to discover what we so often overlook: hidden forms, unspoken stories, subtle beauty, and the potential meaning that trembles beneath every seemingly ordinary scene.

Nives Papandopulo

Rojena 1965 v Reki. Diplomirala je na Pedagoški fakulteti v Reki, Oddelek za kiparstvo, kjer je pridobila naziv profesorice likovne umetnosti.

Dolgoletna je sodelavka Šole za uporabno umetnost v Reki. Izstopa kot pedagoška mentorica z bogatimi izkušnjami pri delu z nadarjenimi učenci ter kot pobudnica in koordinatorka številnih šolskih in kulturnih projektov. Njeno umetniško in pedagoško delo se odraža v trajnem vplivu na izobraževanje in kulturno sceno, od leta 2016 pa se razvija tudi kot priznana fotografinja.

Sodelovala je na številnih razstavah, pri čemer je osvojila pomembne nagrade, med katerimi izstopajo: 1. nagrada na XVII. Istra Art fotografskem natečaju Isolation (2021) ter 2. nagrada v kategoriji posamezne fotografije na 10. Salon črno-bele fotografije 100+1 v Reki (2023).

Leta 2025 je samostojno razstavljala v galeriji Decumanus na Krku ter v galeriji Pasaž v Reki.

Je članica HDLU Istre in umetniškega sveta galerije Pasaž v Reki.

Nives Papandopulo

Born in 1965 in Rijeka. She graduated from the Faculty of Education in Rijeka, Department of Sculpture, where she obtained the title of Professor of Visual Arts.

She has been a long-time staff member at the School of Applied Arts in Rijeka. She stands out as an experienced pedagogue and mentor, working with gifted students, and as the initiator and coordinator of numerous school and cultural projects. Her artistic and pedagogical work has had a lasting impact on education and the cultural scene, and since 2016, she has also gained recognition as a photographer.

She has participated in numerous exhibitions, winning significant awards, including the 1st prize at the XVII. Istra Art photography competition Isolation (2021) and the 2nd prize in the individual photograph category at the 10th Black-and-White Photography Salon 100+1 in Rijeka (2023).

In 2025, she held solo exhibitions at the Decumanus Gallery in Krk and the Pasaž Gallery in Rijeka.

She is a member of HDLU Istra and the artistic council of the Pasaž Gallery in Rijeka.