Memory 9s, 2024
Photography : black & white edition, paper, fine art print · 20 x 20 x 0.2 cm 7.9 x 7.9 x 0.1 inch · Ready to hang
€260
260 €
One of the last works available by this artist
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Shipped from: Bulgaria
Delivery to: Germany , € 34
Estimated delivery: One to two weeks
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About the artwork
Type
Photography : numbered and limited to 3 copies
1 copy available
Condition
Artwork sold in perfect condition, framed, ready to hang
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the artist
Signature
Signed artwork
Technique & Support
Dimensions ( cm • inch )
20 x 20 x 0.2 cm 7.9 x 7.9 x 0.1 inch Height x Width x Depth
Artwork dimensions including frame
24 x 24 x 4 cm 9.4 x 9.4 x 1.6 inch
Sold by
Independent artist
Credentials
Vetted seller since 2026
Description
Pigment print on Hahnemühle German Etching 310 fine art paper, limited edition 2/3
Some memories are as fragile as soap bubbles: they appear, gleam, and vanish. They are born of fragmentary images, photographs, stories—and sometimes of our imagination. The real and the invented intertwine, and we cannot tell what was lived and what was shaped by longing.
When Jean Piaget (a Swiss psychologist, considered one of the founders of modern child psychology) was a small child, he believed he remembered very clearly how a man had tried to kidnap him from his pram in the park. In his memory, the nanny struggled with the attacker, she was scratched, and he, little Piaget, remembered lying in the pram and seeing it all—the assault, the fear, the kidnapper's flight. This scene was so vivid in his mind that he told the story with confidence and detail. When Piaget became a teenager, the family received a letter from the nanny, who confessed that the entire “kidnapping" had been a lie. She had invented the story to appear as a heroine who saved the child. There had never been an attacker. Piaget realized he truly had a clear memory of something that had never happened. The episode impressed him deeply, and he often cited it as an example of how constructive and deceptive human memory is—we do not merely reproduce the past; we recreate and enrich it every time we remember. We can be convinced that something entirely invented is a real memory.
At the heart of this photographic series lies the absence of one presence—and its creation through imagined memories. Ethereal as soap bubbles, indistinct, monochrome, they filled the empty space of a lost image and became reality. A small box of old black-and-white photographs helped me; from them, my imagination shaped the missing recollections. These photographs are an attempt to capture and materialize that space between memory and fantasy, where absence becomes presence, and where memory is born from longing.
— Mihaela Ivanova
Presentation
Mihaela is a photographer and visual artist based in Sofia, Bulgaria. She graduated from New Bulgarian University in 2011 with a Bachelor's degree in Visual Arts, specializing in Photography. Her artistic practice is deeply rooted in analogue photography and a fascination with the timeless qualities of black-and-white imagery.
Working primarily with a medium-format analogue camera, she explores the distinctive character of traditional film photography and the intimate, hands-on process of film development. Her approach embraces the imperfections, and unpredictability inherent to analogue techniques, allowing the process itself to become an essential part of the work.
Alongside photography, Mihaela experiments with alternative image-making processes, including collage, chemigrams, and lumen prints, and occasionally incorporates drawing into her practice. Through these varied techniques, she explores the boundaries between photography and other forms of visual expression.
She has participated in numerous group exhibitions in Bulgaria and internationally, and has presented her work in two solo exhibitions. Her solo exhibitions include Slow is the New Fast at Gallery Photosynthesis, Sofia (2015), and Soap Bubble Memories at Little Bird Place Gallery, Sofia (2025).
Mihaela balances her artistic practice with her work as a kindergarten teacher, two seemingly different fields that share her interest in observation, imagination, and the ways we perceive and interpret the world around us.
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