The broader public may know architect Ott Kadarik as a photographer from last summer’s exhibition “Aedade järelelu” (Afterlife of gardens) shown at the Kumu Art Museum, where it was difficult not to notice Kadarik’s digital collages with an apocalyptic undertone.
By photographing buildings in Asian metropolises and relying on a modernist aesthetic in keeping with the object itself, Kadarik seemsto use photography as a means for reflecting on himself and his profession. On the other hand, an architect’s time is largely taken up with design work and so it often happens that the creator in Kadarik prevails over the documentary maker, and the National Geographic-style angle and scene selection is replaced with poetic staging.