The series of photographs are created through a cruel and subtle game of assembling, distorting, and permeating the bare body part. We are exposed to the bodies deformed by the destructive effect of emotions: decapitated bodies, sprained, twisted, disjointed, or even tripled, but never grotesque. Everything is harmonious in that distortion because no one can dispute the naturalness of the emotion (no matter how unbearable it is). Being primarily a play with composition, perception, and human anatomy, Scars goes beyond that, aiming at transcending a certain feeling of (de)composing oneself under the pressure of external influences and circumstances. As in other photo series, the figures are the main visual elements to build compositions. They are relaxed, in a melancholic state, sprinkled with joyful contentment, abruptly cut by frames, but far from being incomplete. A bright light (almost like in hospitals) exposes them to the views of others. A documentary photographic approach gives a certain aspect of truth to the manipulated images. Surreal bodies by Ljubica Denkovic enable us to touch the invisible. They call us to accept frustration as an entrance hall of transformation: – It’s the place where I become the highest expression of myself.”Observing the photographs, we cannot avoid staring into the inner parts of ourselves, to finally count the parts and face what we were separated from. To whom do our bodies belong?