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On the one hand, we are witnessing less regional and national specificity of any given context, and on the other, a higher global sensitivity to any geo-political particularity. The greater flow of information and facts has distributed knowledge in such a way that its become impossible to hide the darker chapters of national histories. And with all of them being interconnected in the global neoliberal concept of democracy, we can easily quote Albert Camus when we speak about the possibility of ethical and ethnical innocence. Camus said: "If this is democracy, then we are all guilty". The source imagery for the Afterimages is overloaded with ideological drive; these were images with high ideological potency and effect: religious monuments and religious scenes, the supposed ideological ?backdrop of the armed conflicts in the Balkans. During the war, I saw? the very notion of memory, the poetic and selfless act of preserving collective memory being transformed into an aggressive weapon that produces false distinctions based on the specificities of ideological drives. I wanted to intervene in these images whose de-contextualization fed the conflict. I went back to the genuine idea of memory and tried to embody it through the process of drawing. Deconstructing signifiers until they were reduced to a visualization of what could be their memory.
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