The culmination of a close and unhindered relationship between the photographer and the photographed person is revealed in the series of Martina’s portraits: The subtitle – diary entries – clearly communicates that we are dealing with something personal. Opalić takes photos of her partner in a household environment, on trips, in nature, and in the company of other people or by herself, in various moods. While early portraits of queer persons taken by Opalić were mainly politically implicit, the portraits of her partner are explicitly intimate. Keeping in mind that we have long ago become aware that personal is political – thanks to the feminist movement – we can safely confirm that Ana’s most personal series of photos is at the same time her most political work to date, because it places lesbian love in the area of visibility. In this sense we may say that her contemporary artistic work – from atypical self-portraits in the outdoors of Dubrovnik, all marked with the trait of concealing oneself in the surroundings “– have led to setting one’s own wishes in focus – in a certain sense this does reflect the artist’s process of coming out… ”

by Tihana Bertek