It seems impossible to start a conversation about this most recent cycle of works by Mara Bratoš without emphasizing the fact that it is different in relation to the author’s known work so far. The issue here is certainly motif, which is significantly different from those of her earlier photographic cycles where a human figure was always dominant: portrait, self-portrait, nude, self-nude, figure, figural composition... always in the intimate surroundings of a private flat or domestic landscape.