untitled-oil on paper-50x35cm-2019
untitled-oil on paper-50x35cm-2019
untitled-oil on paper-50x35cm-2019
untitled-oil on paper-50x35cm-2019
untitled-oil on paper-50x35cm-2019
untitled-oil on paper-50x35cm-2019
untitled-oil on paper-50x35cm-2019
untitled-oil on paper-50x35cm-2019
untitled-oil on paper-50x35cm-2019
untitled-oil on paper-50x35cm-2019
untitled-oil on paper-50x35cm-2019
untitled-oil on paper-50x35cm-2019
untitled-oil on paper-50x35cm-2019
untitled-oil on paper-50x35cm-2019
untitled-oil on paper-50x35cm-2019
Object and purpose of this paper:
In my Master’s program I continued my artistic research, begun during my Bachelor’s program. My work was rooted and inspired by Intimism, a subjective painting movement which centers around an individual’s understanding of the world through the prism of inner life.
The advice to "surround the tree with compulsions" would first be an obligation to draw it, to invest it with limitations in outside space. In this case, we should obey the simple rules of perception, we should be "objective," cease imagining. But the tree, like every genuine living thing, is taken in its being that "knows no bounds." Its limits are mere accidents. Against the accident of limits, the tree needs you to give it your superabundant images, nurtured in your intimate space, in "this space that has its being in you." Then, together, the tree and its dreamer, take their places, grow tall. Never, in the dream world, does a tree appear as a completed being. This excerpt from Gaston Bachelard’s book “The Poetics of Space” gives a hint towards what I will be writing about next.
My starting point is scenes from nature, shots that show a dense situation, rhythms of gray colors, a layered scene as a product of intertwined planes and surfaces. The scenes or templates I start with are not one hundred percent deliberately selected, but derived from a conception created during observation ... I do not aspire to describe the situation in the template. Prior to the act of painting itself, one must devote itself to reading, observing, and noticing the situation in the landscape. This process is similar to that of a calligrapher dealing with inner reality. He is preoccupied with experiencing an outside world where there is not much room for rationalization, and he gives his place to imaginative thinking. The photographed landscapes serve as a landmark for me. I reject all previously acquired knowledge, the so-called ARS, and use my own ability instead. The process becomes a kind of philosophy through which this research work can only be understood. The creative process is based on the idea that the particular scene being viewed does not appear to be guided by a rational, traditional approach, therefore the artist's approach is limited. The idea is to use the particular scene being viewed as a trigger to explode more meaning and interpretation. Emphasis is placed not on the template or the end result, but on the act itself. An act can be defined as the search for a new solution that will be the image of multiple meanings. In the search for an adequate relationship between form and content, one has to choose a single expression from a myriad of possible combinations. Each act that occurs during the long process of creation is recorded as a single layer in the painting. Therefore, the depth, or layering, that is established in an painting is of great importance. The form is open, it is still opening, it is no longer the form of the created work, it is the form of an act of creating - form as a process, not a form as a finished product. In this connection, the finished work can be seen as a representation of the ultimate degree of liberation from the visible. The image should go beyond the sensual and the visual and present the search for meta dimensions, that is, the search for the invisible and the unmanifested. The word drama in Greek is etymologically related to the idea of working; drama is what is done and performed on canvas. The canvas is turned towards the observer to invite him to engage in the still unfinished process. The role of the observer is not passive, through their perception of the painting, they will or will not experience the its meaning. The observer places himself in a similar position as the artist. The individual should feel themselves as part of the process by observing the event and not the concrete presentation. The image they observe is given new meaning by their perception. The emphasis is not on aesthetically consuming the image, but on the active creative process. With their observation, the individual completes the work but the picture still represents the event. That is why the path of meaning is left open and indeterminate and this is actually the subtlety of sense. For on the contrary, if the meaning is fixed and imposed, that is to say when it is not subtle, it becomes an instrument, a stake of power. That subtlety of meaning, that belief that meaning does not stop literally at the thing said, but always goes on, is the belief of all artists, whose objective is not an obscure technique, but this marvelous phenomenon of vibration. So, the crucial moment is when one stands in front of the image and their consciousness is not overflowing and saturated with information. If consciousness leaves room for action, it will be provoked into action. As Ogist Roden says, every great work of art brings us to the limit of what is "cognizance." All masters reach the wall of the forbidden which holds the unfathomable secret.
