Viewers are often surprised by the ruthlessness with which Igor Kovac’s photographs capture life on the road, on the go, on the move. His snapshots tell stories that need no further explanation; his portraits often suggest complex biographies behind the images. Situational photography defines the majority of his works: mostly taken unbeknownst to the protagonists they depict, they always betray the eye of a documentarian who never shies away from portraying the diverse aspects of poverty, sorrow, frailty, humor, and joy. With his work, Igor Kovac deliberately aligns himself with the black-and-white photography tradition of the 1930s to 1950s, following as it were in the footsteps of Henri Cartier-Bresson, his role model.
As in the work of Cartier-Bresson, at first glance it is quick and easy to decode his pictures: they revolve around the element of surprise—and yet they also hint at rigorous staging.