Srdjan Loncar creates a witty yet sophisticated combination of sculpture and photography. In both form and content, Loncar’s work explores the intersection of art, technology, science, and subjectivity. His work is concerned with the reproduction of known actual objects that are natural and organic, political, historical, domestic and mundane. Loncar’s method generally consists of carving forms of familiar objects out of Styrofoam and covering them with close-up photo images of the object’s surfaces. The result is a distorted mosaic made up of small, individual, photographic truths which reveal the complexity of observation, recording and representation. Substituting the detail photographs of the object for the actual elements of the object, the artist creates exaggerated simulacra, whereby the difference between the actual and the false is diminished and emphasized at the same time. This technique produces a series of unresolved tensions — two-dimensional versus three-dimensional, disembodied versus embodied, absence versus presence — all of which speak to the fate of an individual in our self-produced hyper-reality. For Loncar, the hyper-real is a state of being where due to the bombardment of images, especially by the media, it is hard to distinguish between the true and the false, the original and the copy.