David Orešič (David Oresic - born 1960 in Maribor, Slovenia) is a photographer, lighting designer and scenographer whose practice brings together visual art, theatre and performance. Based in Maribor, he approaches photography as a constructed encounter between the body, light, space and the viewer. He studied lighting design at the Bavarian Theatre Academy in Munich and completed a master's degree in scenography at the Academy of Theatre, Radio, Film and Television, University of Ljubljana, in 2015. From 2012 to 2021, he taught lighting design at the same academy. His experience in theatre continues to inform his photographic understanding of composition, gesture and the dramaturgy of light. Oresic began working systematically with photography in 2017, initially documenting theatre productions for which he had designed lighting or scenography. This developed into an independent artistic practice encompassing portraiture, documentary photography and staged images, with a particular focus on conceptual self-portraiture. In his series I IN THE PLURAL, he uses his own body as both material and a site of transformation. Acting as author, performer and subject, he explores how identity takes shape through gesture, objects, visual conventions and the act of looking. The self-portrait becomes a space in which different versions of the self can emerge, overlap and contradict one another. His images combine carefully constructed situations with humour, self-irony and elements of the absurd. Familiar objects acquire unexpected roles, while the face and body become carriers of signs whose meanings remain open to interpretation. Questions of ageing, visibility, bodily presence and social roles run through the work. His theatrical background is evident in the way a pose, a prop or a spatial relationship can suggest an event beyond the photographed moment. Light is central to his visual language: it shapes volume, articulates texture, directs attention and influences how a gesture is perceived. Pronounced detail and concentrated compositions give the images a tactile presence. His approach connects the physical construction of a scene with the psychological and imaginative responses it may provoke. For Oresic, the viewer's experience is an active part of the work. He is interested in the associations, uncertainties and questions that arise when an image meets another person's gaze. A photograph can carry several interpretations without resolving them into a single explanation. He understands an artwork as an open process capable of further transformation. A photographic image may become the starting point for a spatial installation, a lighting composition or a scenographic environment, with continuity residing in the underlying artistic idea. Across these forms, his practice examines how images are constructed, how they act upon us and how their meanings change through perception.