Orphanella, C-Print, 2017.
During the last ten years, Kaja Leijon has divided her artistic practice into two entities: film and photography. Her work aspires towards a plausible fictional universe, although the premise of a linear and reliable narrative is vaguely destabilised by a candid approach to visual anecdotes. Her films often insinuate questions concerning the human condition, where existential problems like alienation, ineptitude and loneliness are epitomised. Her photographs illuminate the neglected and omitted, functioning as a harbour and lawyer for the allure of the seemingly riven. These elements and vistas, like the human fates she describes in her films, are inhabited by universal qualities momentous in their essence. They are poetry manifested as photographs, balancing on the fine line of potential failure, seeking shelter in fragility.