from 'The Photographic Lens and the Inner Eye; The Imitation of Life Studio'
by Vladimir Gudac, Camera Austria no.30, 1989.:

They work as artistic partners, all their works carry the signature of both without leaving a possibility to find out the part any one of them has had in their creation - there is no visible 'handwriting ' to give away individual authorship. The Imitation of Life Studio show some definitive tendencies of today's art - the creation of new things according to the will of the artists in their credo. They use visual artifacts from their environment, their physical and spiritual milieu. The title of the one of their exhibitions - ėLontano dagli occhi, lontano dal cuoreî - tells of the reverse creation process. If the heart is not the eye's drawing well but its place of deposit (not producing but perceiving) it can only be kept alive by collecting things that have been seen. The absence of the visual weakens the emotional ties to the outer world while the inner objects emanate their influence of their own strength: momentarily pushed aside as if not all exist or as if there were no other influences or no subjectivity.
Duplication, the use of photocopies from which photographs are then made, unprinted clichés - these are technique in the vicinity of the Pop-Art-processes of the industrial society, not confirmations of just any high-tech realism but an affirmation of a special, apparently undeclared order of things becoming effective within the networks of a previously designed strategy. In the development of the highly capitalist western society and the references to societies only marginally participating in this process (Yugoslavia, for instance) the image has fund its level, a level on which, within  the socio-cultural scene, many old ties have been broken. This breaking of old ties put young artists in the position of being a 'distributor of self' in a society rendering the ego, because of the process of aculturalisation, no longer worthy of credit. In such a situation, when things are no longer self-explanatory, the artist himself must take charge and develop a sound, outwardly presentable program, while personal matters remain self-evident. In such a system things, images, texts and objects are arranged in a parallels, neatly separated without ever getting mixed up.