“BEAT (S)” is a visual collaboration on the materialization of fluent forms of development, pressure, the sensibility of continuous change and the necessity of rejecting categoricalness. The artists responded in an individual way to the proposal of the Kolarac Endowment Gallery to gather as winners of the main awards of the Painting, Sculpture and Graphic Departments of the Faculty of Fine Arts in Belgrade for 2019.
Anja Tončić‘s artistic relations arose as a product of the share and influence of physical theories on holographic interferometry, acoustics, refraction theory and intervention combinatorics, and set up a web of organized chaos that gradually disciplines the constructive elements of the offered scene, enabling analysis and visualization of pressure and her effort. The accordance in the drawing principle of dense concentration of line relations aims to emphasize the destabilization of perception in rotational motion, using visual methods of experimental electromagnetic interactions in the approach to cyclic motion on a static basis known for the methodology of futurism and later op-art, which leads inertial positioning which is generated on a formal-stylistic level through the presentation of images-movements, forms that are fluctuating and accelerating, although limited by the conventional framework of the classical medium. With this series of presented drawings as well as the installation / object, Anja presents rhythmic visions of pointless swirls as a platform of universal aspect of confrontation, with the intention of artistic integration of resulting movements, beats, deformations and vibrations, while using seemingly limited mobility of drawing style. It the exact composition, provoking the formulation of the question about the specific problem and / or the phenomenon of the resistance itself as a necessity and an initiator.
With her works, Aleksandra Majstorović deepens and materializes the human relationship and the experience of the emergence of man as a being. Its appearance transformed into a strong, fluent form symbolizes the process of development and its crucial importance in the life of each of us. The deep sensibility of nature, interwoven with energy, neither colossal nor ethereal, radiates whiteness, unmistakably exists, takes place, speaks of the human body, and yet it is a mirror of ourselves.
On this occasion, you can see a series of sculptures called “Development”. Consisting of four different forms “Zero Development”, “Development I”, “Development II” and “Development III”. Chronologically connected, different in volume, they show changes that we were not aware of while we were experiencing, and which we are witnessing every day in the world around us. Structurally the most sensitive places in life. The artist finds her inspiration in the nature of ourselves and connects it with the perfectly imperfect complex of the human being. The truth of the mother’s vision of herself is depicted, the energy at the expense of which the being is created, the consequences and characteristics. Triumph and pain. Constant trace and eternal change. Equally important, the series of watercolors “Disappearance of Sculpture” depicts cruelty, weight and the cessation of shape formation. A sudden reversal of nature. Disorder, anger and disappearance. Alexandra wants to raise awareness of society and point out the importance of human development at an early stage, warn and pays attention to all sculptures developed and disappeared during this earthly existence.
Marija Šešlija consciously chooses that her art does not refer to everyday human events, nor does it strive for direct criticism of society. It turns to universal and essential topics of human thinking, thus not giving a final and unique answer, but opening new horizons of free thinking, introspection and sensitivity. Moving from her own questioning of the changing and unpredictable nature of life, as well as the concepts of infinity and spirituality, Mary strives to transfer this complex thought process into the material world of the work of art. Choosing the sky as the main motif of her works, this never the same, and always present, superhuman phenomenon, the artist provides the viewer with one of the many possible versions of the perception of reality. She emphasizes the necessity of liberation from the molded, socially and religiously determined understanding of the world, both the one around us and the one inside us. In this desire for the observer to focus on the possibility of a divergent, heterogeneous understanding of the apparent and abstract aspect of existence, we can see the tendency to change the state in which today’s man finds himself.
“Following the order in which the starting point is the image from nature and the final work, created on its model due to the translation from the world of thought into the world of nature, a closed circle is created in which these two worlds complement each other.” graphics, Mary draws attention to the multi-layered meaning of these works. The essence is not in coming to the ultimate answer, but in the different paths we will take towards it.