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JASNA SAMARIN: INTERFERENCE
23. 7.–29. 8. 2019
Odprtje razstave: torek, 23. julija 2019, ob 20. uri
Otvoritveni dogodek bo popestril glasbeni duo Smet.
Slikarski ambient Jasne Samarin, naslovljen Interference, nas postavlja v vlogo aktivnega gledalca, ki mora poiskati odgovor na vprašanje, ne, kaj nam slike prikazujejo, pač pa v kakšno razmerje do sveta nas slikarka postavlja. Primarna je slikarska izjava, ki načenja več likovnih problemov. Ti so po eni strani močno značilni za njeno delo – s preigravanjem svetlo-temnega kontrasta, strukturalnostjo in kolažiranjem se ukvarja že dlje časa – po drugi strani pa likovni dražljaji s težnjo po kompleksnosti zdaj segajo k temam, ki so bolj univerzalne in vedno manj časovno zaznamovane.
Celoto sestavlja deset platen, razporejenih v tri enote, v šestdelni osrednji poliptih in dva stranska diptiha. Postavitev je natančno premišljena, saj slike objamejo gledalca in ga postavijo v središče slikarskega ambienta. Ozek razmik med osrednjima dvema platnoma je prostor, v katerega gledalca ukleneta levi in desni krožni izsek na dveh osrednjih slik. Bolj kot so platna odmaknjena od središča, bolj se veča razmik med njimi. Zdi se, kot bi celota podlegla fizični sili privlačnosti magnetnega polja, ali pa, da gledamo valovanje, ki ga je sprožil kamen, vržen v vodo, kjer se koncentrični valovi vse bolj oddaljujejo. S ponavljanjem krožnega loka na vseh platnih in s simetrijo – polmeseci z leve strani se zrcalijo na desni – je ustvarjen občutek zgoščanja v središču. To umiri gledalca, ki iz središča suvereno obvladuje pogled na celotni ambient. Poudarjeni centralnost in simetričnost s preprostostjo in izčiščenostjo kompozicije omogočajo jasno berljivost celote.
Tudi tokrat cikel slik, s katerim se predstavlja, skriva v ozadju realni impulz. To so fotografski detajli iz kamnoloma, kjer brusijo kamne za vodnjake. Sledovi lesenih desk, ki se v marmornem prahu odtisnejo po obdelavi kamna, se s črno-belo fotografijo spremenijo iz tridimenzionalne reliefne strukture v dvodimenzionalni raster sivin. Grafizmi so posledica posega človeka v naravo, tudi zato je njihov videz organičen. Kar je usklajeno tudi z bistveno spremembo v delu Jasne Samarin. Ravne, pod pravim kotom se sekajoče linije, ki so doslej dominirale v njenem delu, so nadomestile blage krivulje. Beremo jih lahko kot koncentrične kroge ali pa kot krožnico, ki v spirali navidezno izginja v neskončnih razsežnostih prostora, s čimer spominja na simbolno predstavitev časa. Krožnica je nadčasovna, a ji lahko določimo središče, drugače kot pri pravokotni mreži, na kateri so vsa polja enako pomembna. Danes se v spletu raznovrstnih informacij, ki ga ponazarja mreža, posameznik izgublja, vse bolj je dezorientiran, njegova pozornost pa razpršena na milijon podatkov, ki jih ne more povezati in jim sam določiti hierarhije. Osredotočenost in premočrtnost postajata vse redkejši ptici, ki kličeta po pozornosti. Loki asocirajo na oklepaj, ki nekaj zaklepa, s tem nepomembno izolira ali izloči, vsebino pa zgosti med oklepajskima znakoma. Slike namigujejo, da je nastopil čas, da se iz fragmentarizacije zdaj začne nasproten postopek zgoščevanja in centričnosti. Iz območja formalnih problemov se tu zgodi premislek o odnosu do sveta.
Tekst: Nadja Zgonik
Foto: Jasna Samarin: Diptih INTERFERENCE no. 2, print in akril na platno, 2019
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Spremljevalni dogodek:
27.7. 2019, ob 11.00 – javno vodstvo avtorice po razstavi
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JASNA SAMARIN: INTERFERENCES
23. 7.–29. 8. 2019
Exhibition opening: Tuesday, 23 July 2019, at 8 pm
The opening event will feature a musical performance by duo Smet.
Jasna Samarin’s painterly space puts one in the role of the active
viewer, a viewer who should find the answer not about what the
paintings represent, but in what relation to the world the artist
places the viewer. The composition is carefully planned, the works
enveloping the viewer, placing them in the centre of the painterly
space. The narrow gap between the inner two paintings creates
an interval for the viewer to be enclosed by symmetrical circular
sectors in the two works. The greater the distance of works from
the centre, the larger the gap between them. It seems as if the
whole has succumbed to the attraction of a magnetic field, or as
if a stone has been thrown into water, making ripples, with concentric rings travelling away from the source. The repetition of
the arc in all paintings and the symmetry – the crescents on the
left being mirrored on the right – evoke a sense of a concentrated
core, producing a calming effect that makes the viewer confidently
take in the entire space. With their simplicity and clean
composition, the striking centrality and symmetry allow for easy
legibility of the whole.
Adding to the balance is the contrast between warm tones of
brown on the left and cold tones of the same colour on the right.
The gradation from warm to cold hues is in harmony with the
transition from the light half to the dark one in each of the works.
The contrast between light and darkness is typical of black and
white photography, a medium that has been a constant in Jasna
Samarin’s career since its beginnings. It is the anchor that keeps
her artistic sensibility tied to the domain of the visual stimuli provided
by the tangible world and captured by her camera. As has
been the case with Samarin’s works before, the series of paintings
on display are based on real impulses: photographic details
from a quarry where stones are treated to be used in building
wells. In a black and white photograph, the marks left in the marble
dust by wooden boards after treatment turn from a threedimensional
relief structure into a two-dimensional grid of greys.
Organic in appearance, the lines are a result of human interference
with nature. Slight curves can be read as concentric rings
or a circular line that seems to disappear in an endless spiral of
spatial dimensions, suggesting a symbolic representation of time.
Nowadays, individuals are becoming disorientated in an informational web, their attention scattered between millions of pieces of data which they are unable to connect or arrange in a hierarchical order. A focused and straightforward approach is becoming an increasingly endangered species crying for attention. The arcs resemble brackets, the signs enclosing something, concentrating the subject matter while isolating or rejecting what is irrelevant. The paintings seem to imply that the time has come for fragmentation to be replaced by its opposites, condensation and centricity. From the domain of formal problems emerges a reflection on one’s view of the world.
Building the picture plane in a slow process that almost resembles
weaving, Jasna Samarin uses a spaying technique to meticulously
sprinkle the printed surface with tiny specks of colour.
Each tone is made up of several coatings applied by the artist in
layers and arranged in hues, the colour ultimately covering the
printed photograph underneath in layers across the entire surface.
While this is a controlled working process, Samarin eventually
lets it go, making the specks of colour seem as if they are a
spontaneous result of a colossal space collision. Looking at the
paintings from up close, one feels as if immersed in a haze, surrounded by galaxies of tiny stars.
Nadja Zgonik
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Event with the author:
Saturday, 27 July 2019, at 11 am –
Guided tour of the exhibition / Meet & Greet
Spletna stran uporablja piškotke. Z nadaljno uporabo strani smatramo, da se z njimi strinjate. Več
Kaj je piškotek? Skoraj vsako spletno mesto uporablja tehnologijo piškotkov. Piškotek je majhna datoteka, ki shrani internetne nastavitve. Prenese se preko brskalnika med prvim obiskom na spletnem mestu. Ko se naslednjič vrnete na stran preko iste naprave, lahko brskalnik preveri, ali je soroden piškotek prisoten (torej tisti, ki vsebuje ime strani), in uporabi podatke iz piškotka ter jih pošlje nazaj stran. To omogoča spletnim mestom , da prepoznajo, da jih je uporabnik že predhodno obiskal, in v nekaterih primerih temu prilagodijo prikazano vsebino.
