{"id":11732,"date":"2024-02-07T16:45:24","date_gmt":"2024-02-07T16:45:24","guid":{"rendered":"https:\/\/vagon.gallery\/?post_type=izlozbe&p=11732"},"modified":"2024-03-13T13:01:30","modified_gmt":"2024-03-13T13:01:30","slug":"lica","status":"publish","type":"izlozbe","link":"https:\/\/vagon.gallery\/en\/izlozbe\/lica\/","title":{"rendered":"Faces"},"content":{"rendered":"
The set of works entitled \"Faces\" stands as an antithesis to the curatorial practice of conceptualized and\u00a0coherent art settings. The author through a series of portraits that represent autonomous and\u00a0<\/span>disjointed thought units impulsively touch on various topics such as self-questioning,\u00a0<\/span>nostalgia, animalism and associative recording of psychological states. Accordingly, eleven\u00a0<\/span>the works presented in the Vagon gallery are the product of various artistic researches created in\u00a0<\/span>the past two years. Although they are connected by a basic motif, a portrait, they insist on\u00a0<\/span>the fragmentation of the setting within which each work can be completely self-sufficient.\u00a0<\/span>Regardless of such a starting point, the installation incorporates all the elements of the artist's work so far\u00a0<\/span>process, technically and conceptually, and as such stands on the border between the author's previous work and\u00a0<\/span>new breakthroughs.\u00a0<\/span><\/p> \"While artistically rounded and concise stories created in the form of cycles or long research\u00a0<\/span>work successfully communicate certain complex ideas, the question remains where is the place for\u00a0<\/span>those ideas that are simple, autonomous and not yet subject to sorting into larger units, and in\u00a0<\/span>despite all that, they still manage to carry with them an essential artist's note. I noticed\u00a0<\/span>that lately I don't like the practice within which the presentation must be complete\u00a0<\/span>a developed conceptual proposition of the work, which often needs to be clearly set for a year\u00a0<\/span>days before the exhibition itself. In case the proposition is not sufficiently developed, sometimes the curator himself\u00a0<\/span>he enters with his ideas into the semantic framework of the work in order to upgrade and adapt it for\u00a0<\/span>successful presentation. However, what about the author's basic impulse and needs\u00a0<\/span>so-called visual arts, those branches of artistic activity that are completely\u00a0<\/span>can lead with an artistic narrative. What if the verbalization of work takes more away from work than it does from it\u00a0<\/span>adds and thus closes it to the free interpretation of the audience. Art as such is inevitable\u00a0<\/span>she must have the freedom to be who she is, without the need for inclusion being imposed on her\u00a0<\/span>some generally known conceptual entity. My art often comes from the small, fragmented\u00a0<\/span>the idea as such must be sufficient in itself. This exhibition fulfills my need to that extent\u00a0<\/span>to get rid of and process such ideas and to ultimately allow each image to indirectly\u00a0<\/span>communicates with the observer. As an artist, I want to create beautiful things and explore\u00a0<\/span>the limits within which what we do not conventionally perceive as beautiful can be represented\u00a0<\/span>through beautiful artistic language. Such an uncompromising artistic path is possible for me in the Gallery\u00a0<\/span>Vagon.\u201c<\/span><\/p> \u00a0<\/span><\/p> \u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t