NYC based photographer Suzanne Saroff’s work focuses on perception by taking a modern turn on still life, making us question reality. In both her recent personal series, she uses light not only as a drawing tool but also as a medium; going through or abutting against elements, creating new perspectives.

In her 2017 series “Shadow”, the artist produces beautiful compositions of vegetal and glass elements using light to create distorted shadows, recreating new outlines, engendering a surrealistic-like feeling.

Shadows have always been a fascinating darkness for men, daytime hints of the night, they have the particularity of both encompassing our fears and fantasies and yet be just a reflection of reality.

As a glimpse into a parallel universe, the shadows, reflected on a flat surface, appear dark and mysterious, contrasting with the beauty and freshness of the flowers and glass elements. While the shadows create depth, the use of solid color as backgrounds, mimicking the hues of the vegetal elements, gives us the impression of looking at objects magically floating.

Whereas in her first series, Saroff used light and her absence to extend her subjects and furthermore construct them, in her second series, “Perspectives”, light serves her as it goes through different shapes of glass elements, each time deconstructing her subject to better reconstruct it under the most unconventional points of views. Following a cubist ideology, the Brooklyn based artist, decides to present her subject not from frontal view, but from everywhere and nowhere at the same time, tricking the viewers, turning flowers and fruits into jigsaw puzzles.

Ironically enough, the artist uses glass and flowers, putting herself in the purest tradition of memento mori, combining delicate vulnerable elements mimicking the fragility of existence itself, all of them surrounded by water and wine, respectively scientific and biblical sources of life.