Denkovic builds a seemingly different world, a movie scene or a surreal sight within the emotional field of collective loneliness. Her photographic method over-accentuates and intensifies reality to such an extent that it ends making us ready to embrace it. The resulting photographs are a guide through the dark landscapes of the self, showing us external locations and discarded emotions in space, encouraging us to face the neglected internal domains. Her photography is a space that varies meanings, making them stranger, questioning the known, instilling new senses, playing with aesthetic categories. At the same time, such a creative approach enforces a cognitive frame flexibility and an expanded expectations horizon upon the spectator.

The artist is not at the mercy of a convenient moment; she keeps looking for and inducing it actively, replacing the ever-present lack of creative time by stealing from the night, not flinching back even from making a pact with sleeplessness. Over-accentuating the random elements of nighttime streets, she creates seemingly surreal landscapes, but her surrealism serves the purpose of facing the layers of reality we are trying to avoid. We are so immersed in some of our illusions that we have stopped questioning them. Denkovic photographs unmask them with the ease of masterful illusionism, for it is only the skill of illusion-building that can deconstruct it. She does it unassumingly and gently. Showing us a nighttime landscape, an insignificant and unknown place, she challenges us to find a piece of ourselves in it.