
We protograph things in order to ignore them. I photograph things so that I can close my eyes.
The parphrase of a text by Franza Kafka




Continuously linking photography with reality is pushing the medium farther and farther into triviality, which limits any possible freedom of understanding the image. With time you come to realize that photography does not mirror reality; the two have practically nothing in common You realize that the truth of a photographic image can only be comprehended by those capable of seeeing what lies behind it. A photograph is the creation of its author, but in the eye of the viewer it is understood in a completely different way. That may be one of the meanings of art. Where, then, lies its truthfulness? That is why I prefer to flee reality in order to overcome it; that is why I prefer to retreat into the abstract. My infimate credo is best expressed by Minor White’s idea that it does not matter what subject you photograph but how you do it. It helps me to register my thoughts and, using a great deal of melancholy, seek traces of my time lost. All those are my intimate stories, but they also mean overcoming reality.
Milan Pajk

Milan Pajk
He was born on the 6th December 1942 in Ljubljana. He graduated from the University of Ljubljana Faculty of Civil Engineering and Geodesy in 1966.
n the middle of 1970s, he focused on photography and became independent artist in 1977. With the designers Miljenko Licul and Ranko Novak he funded the studio Znak in 1980, that established itself as one of the most renowned creative groups in the field of visual communication in Slovenia.
He was teaching at the University of Ljubljana Academy of Fine Arts (ALU) from 1987 to his retirement, being appointed assistant professor in 1991 and professor in 2000. His photographs were published in many printed publications of marketing, culture and other communication. He is also creative in the fields of fashion photography and photographic criticism.