The violin has a significant place in Arandelovic’s life because it played an extended role in her early youth. She started studying the classical violin at the age of 9. At the same time, she attended both high school for the classical violin and grammar school, majoring in social sciences and languages. Then, at the age of 17, Arandelovic stopped attending music school, gave up the violin and has never played since. She made this decision at a specific moment, and her life went in the direction of architecture and visual arts.
Her parting with the violin was dramatic. What followed in the coming years was a complete rejection of any contact with the violin. She describes it as a major internal trauma, and her first major failure. It’s been more than 20 years since that moment. Arandelovic has kept her violin all those years, protected and safe. However, she has recently taken it and hugged it.
The photographs in this series are divided into three sections, separated according to the clothes the model wears. They are all carefully staged and the model is posing. But this time she is not looking at the observer, rather, she is more dedicated to her inner world, which she addresses and questions. There are numerous questions and she has time to wait for an answer. One gets the impression that time has stopped. The postures and gestures of the model are well orchestrated. The crumpled fabric in the background is the first thing that grabs the observers’ attention. The lighting gives a strong sense of authenticity to the photographs. She is seductive, but also caring and curious. She constantly gestures with the violin. The violin becomes her weapon, her friend. This is her violin dance, conversation, memory. Above all, she faces her own promises and final reconciliation.