Until Death Do Us Part (2009-2010) is a body of work about the phenomenon of the wedding ceremony in early 21st century Europe. During this period, my camera registered about 40 different weddings in about 20 European countries (including one wedding held in both Europe and Africa), resulting in a collective image not only of modern weddings, but also of modern European society at a time of growing cultural diversity and expanding cross-culturalism. The project was fully supported by the European Cultural Foundation (ECF).

I wanted to record a wedding as a uniform visual narrative containing within itself a multitude of socially and culturally conditioned differences, but eventually reduced to one organism – a body without skin, whose form is clearly defined by its skeleton and its inner organs, and where no sign or ritual has the same meaning outside of its context. In the spirit of Walter Benjamin's "unconscious optics", the camera, in its merciless neutrality penetrates the cellular structure of things that would otherwise remain unconscious. (...)

Lived and observed, lined up in these photographs are ceremonies and rituals – old and new, and often culturologically hybrid – either crucial for the evolution of a marriage, providing for a happy family and offspring, or protection against the evil eye, or merely present in the form of practical jokes, as an excuse for showing off and partying. (...) The portraits of all these participants, brides and grooms, family members and friends – with their exultant or expressionless looks, their dignified or slouching postures, seated or in a dance trance – reveal the subtle details of human behaviour in such a sublime moment, and the different psychological states and motivations, which with their numerous nuances, confirm and celebrate the complex nature of human affinities, leaving as much room for fantasies and happiness as for failures and vulnerability. At the moment of joining of two people, they all become as one, and every such new beginning rekindles this appetite, even for those who lost it long ago. All wedding guests, as in Berger's novel (John Berger, 'To The Wedding', 1996), symbolically turn into a single animal, a half-mythical creature, like a satyr with thirty or a hundred or more heads. Such a creature lives for a very short time, only a day or two, and will be born again when there is something new to celebrate, because it consists of those who briefly 'got lost' in happiness and spectacle, in order to store those moments in their memory.

Katarina Radović, from the text ... To Eternity 

Katarina Radović was not there to stoke the fantasy or generate the gloss of propaganda. She was there to record what happened, and how it looked from an outsider's perspective. Beyond the frame of the staged, posed, perfect pictures photographed for posterity – a whole other reality exists.

This is rich trove of treasures for all of us – a universal cross-cultural wedding album from the early 21st century.

Jim Casper, editor-in-chief of LensCulture

Whether she knows it or not, the wide-eyed, dead-pan Miss Radović is both an intuitive and a logician – a laterally somnabulant detective? – and a prophetic eye will discern in her photographs some small detail, such as the lift of an eyelash, a crease in a jacket or reflection off a dress, a twist to a finger, a bite in an abandoned bit of wedding-cake, or a shaft of light across a kitchen bin, which augurs with infallible accuracy for the imminent 'lover's night' (every night is a 'first night') and for the future of the marriage, its duration or intensity.

Jonathan Boulting, poet