Žilvinas Kropas’ photographs display the prints of plants that existed in an earlier reality. Following the theory of Jacques Derrida, it is possible to claim that the images of the plants seem to splinter off from a past that existed, remain in the prints and insert themselves into our time-space. The works of Kropas are like a conscious, visual and intellectual game of being – non-being. On the other hand, photography registers everything like a scientific report based on facts, in which we encounter formerly alive structures that cannot change anymore. Finally, Žilvinas Kropas’ self-analytical insights state that the images of leaves demonstrated on the photographic planes are metaphorically testing the temporariness of the world, states, cities, where finally the world itself turns out to be a merely temporary stop. The magical process of chlorophyll photography introduces temporariness. The image seems to transfer itself inside the plant and take it over without any camera, any usual photo-chemistry or photo-paper; in this way, photography itself remains somewhere beyond the photo. As not all plants allow foreign bodies into themselves, new questions arise.
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