Ivana Kalezic, The Point of Dissapearance - Melancholy

 

 I started working on the series of works on paper entitled Melancholy in 2012… The technique is a continuation of my works with collage with certain modifications… this time I was oriented towards a simpler, more moderate palette which underlines the theme which I wished to open while combining temperas and monoprints as well as paper cuts on paper…

By applying the language of geometry and special effects created by the transition and gradation of hues I tried to present a specter of melancholic emotions, all of its ‘nuances’. Metamorphosis, gradations… the feeling of fear, hopelessness, as well as their gradual transformation into the exact opposite – some kind of internal ‘resurrection’. I found it interesting to deal with my own emotions through a fine arts form as some sort of painting and at the same time clinical notebook via which I would in some way lock horns and come to terms with the phenomenon of sadness which is ever so present in today’s world…

The fine arts language is abstract, more or less cleansed in forms and palette, the colors are lean, the black tones, with certain rhythmic repetitions, are playing with the white tones, with rare excursions into unexpected, bold colors. The approach itself contains meditative moments, almost prayer-like fine arts symbols which appear time and time again and present themselves, such as the circle for example – a complex symbol (code) which depending on the moment and context evokes the topics of femininity, changeability, cycles, magical repetitions which, like prayers, have the intention to evoke the feelings of security and protection. The psychoanalytical elements, as a concept of the work, are intentionally overstressed at moments,  such as for example with chosen abstract elements which thereby become and are transformed in an almost brutal manner into intimate signs and symbols, solipsist road signs and guidelines which follow and explain things to the viewer, deeply delving into one's inner self, into the darkness of the soul, into the chthonic existence which continually boils, flows like water, moves like clouds or storms with moments of illusionary endings. Sometimes threads are used in the actual work process – an element which binds or accentuates those border fine arts-conceptual elements and at other times its presence is 'accidental', like a trace which remains even after everything has been removed. The collages imperceptibly start to bloom, to take shape and some of the glued on particles start to rise, slowly to begin with, higher and higher afterwards, from the paper or foundation – as though they feel the need to become independent, and even though creating a precise and rhythmic composition, they seem to yearn for their very own identity which often results in three-dimensional effects in the works.  

Sometimes those excursions are absolute (such as for example in the 3D objects) and sometimes they are extremely subdued, such as in the works which were created by drawing a comb over thicker or thinner layers of paint, which were previously applied to the surface… The need for a viewer, for that Other, has resulted in monoprints and monotypes (like the endless prints of hands or body parts on paper, the prints of paper on paper, 3d objects, circles) which by themselves as a technique, even though based on repetition, are also composed of elements of the unexpected and accidental whereby they maintain a continuous state of restlessness, even anxiety while at the same time also containing elements of playfulness, surrender and freedom – the artist thereby 'voluntarily captures herself', achieving freedom thereafter time and time again.

Therefore, the actual approach resembles a mosaic in its fundamental idea as well as in the actual fine arts treatment, being controversial as well at the same time, since the above mentioned fine arts strokes and language creates gradation, a gradual and solid creation, construction, integration – while simultaneously another completely opposite process is ongoing which is more or less (i.e. stronger or weaker) disintegration, decay, crumbling – 'ongoing death'… In an aesthetic, fine arts, coloristic, ideological way… all of the above constructs and is based on the previously described movements, dynamics and rhythmic moments, reminiscent of music which metamorphoses into visual.

                                                                          

                                                                                                                      Ivana Kalezic               translated by Biljana Ackovski