Marko Kovacevic | visual artist

This project is a collection of portraits of immigrants in New York City. It is an exploration of immigrant identity, an identity that can be found in a space between origins and destinations. 

The sitters have opened themselves up to the camera and to their memory. They appear serious, pensive. They each hold, lovingly but firmly, an object that they brought with them when moving to this country. Their objects are small enough that they once fit into a suitcase, but they have all the weight of a person's history and the precious connections to childhoods and loved ones. 

The sitters are photographed in the hallways of buildings where they now live. These are the recognizable hallways of Queens or Brooklyn or the Lower East Side, immigrant neighborhoods, traditional gateways to America for centuries. 

The hallways themselves are in-between-spaces - they are public, yet personal. They are personal without being intimate. Just as the sitters are finding a place for themselves in this city, they are carefully placed within the elements of the space. Staircases become symbols of a journey, a process. Literally and metaphorically the people in these photographs are Almost Home. 

This project is a collection of portraits of immigrants in New York City. It is an exploration of immigrant identity, an identity that can be found in a space between origins and destinations. 

The sitters have opened themselves up to the camera and to their memory. They appear serious, pensive. They each hold, lovingly but firmly, an object that they brought with them when moving to this country. Their objects are small enough that they once fit into a suitcase, but they have all the weight of a person's history and the precious connections to childhoods and loved ones. 

The sitters are photographed in the hallways of buildings where they now live. These are the recognizable hallways of Queens or Brooklyn or the Lower East Side, immigrant neighborhoods, traditional gateways to America for centuries. 

The hallways themselves are in-between-spaces - they are public, yet personal. They are personal without being intimate. Just as the sitters are finding a place for themselves in this city, they are carefully placed within the elements of the space. Staircases become symbols of a journey, a process. Literally and metaphorically the people in these photographs are Almost Home. 

This project is a collection of portraits of immigrants in New York City. It is an exploration of immigrant identity, an identity that can be found in a space between origins and destinations. 

The sitters have opened themselves up to the camera and to their memory. They appear serious, pensive. They each hold, lovingly but firmly, an object that they brought with them when moving to this country. Their objects are small enough that they once fit into a suitcase, but they have all the weight of a person's history and the precious connections to childhoods and loved ones. 

The sitters are photographed in the hallways of buildings where they now live. These are the recognizable hallways of Queens or Brooklyn or the Lower East Side, immigrant neighborhoods, traditional gateways to America for centuries. 

The hallways themselves are in-between-spaces - they are public, yet personal. They are personal without being intimate. Just as the sitters are finding a place for themselves in this city, they are carefully placed within the elements of the space. Staircases become symbols of a journey, a process. Literally and metaphorically the people in these photographs are Almost Home. 

This project is a collection of portraits of immigrants in New York City. It is an exploration of immigrant identity, an identity that can be found in a space between origins and destinations. 

The sitters have opened themselves up to the camera and to their memory. They appear serious, pensive. They each hold, lovingly but firmly, an object that they brought with them when moving to this country. Their objects are small enough that they once fit into a suitcase, but they have all the weight of a person's history and the precious connections to childhoods and loved ones. 

The sitters are photographed in the hallways of buildings where they now live. These are the recognizable hallways of Queens or Brooklyn or the Lower East Side, immigrant neighborhoods, traditional gateways to America for centuries. 

The hallways themselves are in-between-spaces - they are public, yet personal. They are personal without being intimate. Just as the sitters are finding a place for themselves in this city, they are carefully placed within the elements of the space. Staircases become symbols of a journey, a process. Literally and metaphorically the people in these photographs are Almost Home. 

This project is a collection of portraits of immigrants in New York City. It is an exploration of immigrant identity, an identity that can be found in a space between origins and destinations. 

The sitters have opened themselves up to the camera and to their memory. They appear serious, pensive. They each hold, lovingly but firmly, an object that they brought with them when moving to this country. Their objects are small enough that they once fit into a suitcase, but they have all the weight of a person's history and the precious connections to childhoods and loved ones. 

The sitters are photographed in the hallways of buildings where they now live. These are the recognizable hallways of Queens or Brooklyn or the Lower East Side, immigrant neighborhoods, traditional gateways to America for centuries. 

The hallways themselves are in-between-spaces - they are public, yet personal. They are personal without being intimate. Just as the sitters are finding a place for themselves in this city, they are carefully placed within the elements of the space. Staircases become symbols of a journey, a process. Literally and metaphorically the people in these photographs are Almost Home. 

This project is a collection of portraits of immigrants in New York City. It is an exploration of immigrant identity, an identity that can be found in a space between origins and destinations. 

The sitters have opened themselves up to the camera and to their memory. They appear serious, pensive. They each hold, lovingly but firmly, an object that they brought with them when moving to this country. Their objects are small enough that they once fit into a suitcase, but they have all the weight of a person's history and the precious connections to childhoods and loved ones. 

The sitters are photographed in the hallways of buildings where they now live. These are the recognizable hallways of Queens or Brooklyn or the Lower East Side, immigrant neighborhoods, traditional gateways to America for centuries. 

The hallways themselves are in-between-spaces - they are public, yet personal. They are personal without being intimate. Just as the sitters are finding a place for themselves in this city, they are carefully placed within the elements of the space. Staircases become symbols of a journey, a process. Literally and metaphorically the people in these photographs are Almost Home. 

This project is a collection of portraits of immigrants in New York City. It is an exploration of immigrant identity, an identity that can be found in a space between origins and destinations. 

The sitters have opened themselves up to the camera and to their memory. They appear serious, pensive. They each hold, lovingly but firmly, an object that they brought with them when moving to this country. Their objects are small enough that they once fit into a suitcase, but they have all the weight of a person's history and the precious connections to childhoods and loved ones. 

The sitters are photographed in the hallways of buildings where they now live. These are the recognizable hallways of Queens or Brooklyn or the Lower East Side, immigrant neighborhoods, traditional gateways to America for centuries. 

The hallways themselves are in-between-spaces - they are public, yet personal. They are personal without being intimate. Just as the sitters are finding a place for themselves in this city, they are carefully placed within the elements of the space. Staircases become symbols of a journey, a process. Literally and metaphorically the people in these photographs are Almost Home. 

This project is a collection of portraits of immigrants in New York City. It is an exploration of immigrant identity, an identity that can be found in a space between origins and destinations. 

The sitters have opened themselves up to the camera and to their memory. They appear serious, pensive. They each hold, lovingly but firmly, an object that they brought with them when moving to this country. Their objects are small enough that they once fit into a suitcase, but they have all the weight of a person's history and the precious connections to childhoods and loved ones. 

The sitters are photographed in the hallways of buildings where they now live. These are the recognizable hallways of Queens or Brooklyn or the Lower East Side, immigrant neighborhoods, traditional gateways to America for centuries. 

The hallways themselves are in-between-spaces - they are public, yet personal. They are personal without being intimate. Just as the sitters are finding a place for themselves in this city, they are carefully placed within the elements of the space. Staircases become symbols of a journey, a process. Literally and metaphorically the people in these photographs are Almost Home. 

This project is a collection of portraits of immigrants in New York City. It is an exploration of immigrant identity, an identity that can be found in a space between origins and destinations. 

The sitters have opened themselves up to the camera and to their memory. They appear serious, pensive. They each hold, lovingly but firmly, an object that they brought with them when moving to this country. Their objects are small enough that they once fit into a suitcase, but they have all the weight of a person's history and the precious connections to childhoods and loved ones. 

The sitters are photographed in the hallways of buildings where they now live. These are the recognizable hallways of Queens or Brooklyn or the Lower East Side, immigrant neighborhoods, traditional gateways to America for centuries. 

The hallways themselves are in-between-spaces - they are public, yet personal. They are personal without being intimate. Just as the sitters are finding a place for themselves in this city, they are carefully placed within the elements of the space. Staircases become symbols of a journey, a process. Literally and metaphorically the people in these photographs are Almost Home. 

This project is a collection of portraits of immigrants in New York City. It is an exploration of immigrant identity, an identity that can be found in a space between origins and destinations. 

The sitters have opened themselves up to the camera and to their memory. They appear serious, pensive. They each hold, lovingly but firmly, an object that they brought with them when moving to this country. Their objects are small enough that they once fit into a suitcase, but they have all the weight of a person's history and the precious connections to childhoods and loved ones. 

The sitters are photographed in the hallways of buildings where they now live. These are the recognizable hallways of Queens or Brooklyn or the Lower East Side, immigrant neighborhoods, traditional gateways to America for centuries. 

The hallways themselves are in-between-spaces - they are public, yet personal. They are personal without being intimate. Just as the sitters are finding a place for themselves in this city, they are carefully placed within the elements of the space. Staircases become symbols of a journey, a process. Literally and metaphorically the people in these photographs are Almost Home.