In my latest work, I explore the art substructure created by using materials that have stopped serving their primary, i.e. consumer function, such as jewelry, lace, table cloth, and other recycled materials. By using recycled material in building a painting, I produce an unusual contrast between the harshness and robustness of format on one hand and the softness of delicate, subtle details on the other.
Name: “Yung’s struggle for the dominance” or “Big dandelion”
Material: Combined technique on jute surface
Dimensions: 140 x 240 cm
Date of production: 2021.
Two seemingly unjoinable forces of nature complement each other and cooperate making thus one whole, similar to the dual concept of Yin and Yang. The spatial progress of dark and light matter suggests the phenomenon of continuous formation and transformation in nature. In a vibrating rhythm, the shapes go through fluid birth, growth, and turmoil, only to redisappear in the background – which represents the cosmic definition of life.
The idea of infinity and perfection reflects in fragmented circular entities generated by the reflection of reality – the mirror. The mirror, impressed in the heart of Yin and Yang, in addition to its function of connecting the two polarities, also represents an allusion to the existence of separate worlds.
Technique: Combined technique on jute surface
Dimensions: 187 x 205 cm
Description: Essencia refers to the primordial, primeval, to sources in nature, to the tribal. An archetype of primeval, pure instinct for creation speaks from a dynamic, expressive form. Fragments of reality in the form of separate entities impressed in a consistent dynamic system respond and directly face a strong rhythm of the pictural and structural order of the whole. Inspired by the essence and enigma of life.
Solo exhibition “Reflections”
The idea of the project “Reflections” is to offer the observer a unique artistic experience in space by using large-scale paintings and installations. Since the artworks are composed of various types of material, such as mirror pieces, they allow open communication between the art piece and the observer through reflection. With a plethora of such paintings, each of them able to reflect reality, we are awarded with visual experience engaging both reality and our imagination in the same matter.
From my point of view, the presence of the outside world is reflected on two levels. At first, it pertains to certain referential relations through a hidden object, that is, an object transposed into an arabesque of signs and symbols. An observer, used to familiar relations between color and shape, will easily recognize certain forms that refer to actual objects or phenomena and reduce the composition to a sum of naive associations. However, the moment we think we are sufficiently absorbed in the rhythmic movement led by the line, we are awakened from our slumber, directly facing the outside world – the reflection of reality in the imprinted mirror. Through the act of perception, the spheres of the mirror become reflections of reality and they invite the observer to interact; if we move from our point of view only a millimeter, the reflection changes along with the whole experience. Reflection variations are infinite, so through the fragments of reality, the observer can see the ugly or beautiful things or go through a wide array of emotions.
The fragments of reality, present in special units, within a consistent dynamic structure, respond and directly face the strong rhythm of the pictorial and structural organization of the whole. In this manner, imagination and reality encounter in the same matter, although such reality – framed and deformed with pre-endued characteristics – is necessarily illusory and paradoxical. Constant transformation in the structural levels of the rhythmic pattern becomes the starting point of artistic experience.
“Reflections”, gallary Collegium artisticum 2022.
Painting as a material fact
I focus on dense structure, impregnated with pictural values created by cumulating layers of different materials or color applications and strokes in the substructure. This treatment ensures fantastic possibilities for developing and enhancing form. In one of such adventures of exploring art substructure, I start from the painting as a material fact. It is created as a result of turning matter into form, a form into a sign, and a sign into a code system. By connecting and reshaping material configurations, the surface of the painting turns into a suggestive and associative field, the material nature of which is indicated and highlighted with a densely impregnated substructure and/or with wide brush strokes. In matter pervaded with pronounced dynamism, the spatial movement of shapes of different origins is consistently followed or complemented with sign elements. In their encounter, a sign determines the path one’s eye should follow or points to a spatial field followed or complemented by a shape in an imaginary sense. By playing with symbols and signs in the structural matter, sometimes I achieve the effect of tension and sometimes of peace and harmony.
Technique: Acrylic on canvas
Dimensions: 120 x 200 cm
Ema Mazrak, art historian about the solo show “Reflections”, 2022.
“Dzejlana Karaman Pasic’s years of research and creative work were presented in an exhibition named Reflexions with more than 50 exhibits. Within an unbreakable chain, in a rhythmic and dynamic manner, we witness parts of autoreflexions of the artist creating, discovering, and finding solutions, absorbed in her search for her characteristic visual identity. The processes of such self-discovery, running along multiple paths, are interconnected through a recognizable organic sample in the form of a playful arabesque in vivid colors.
The cycles of compositions connected through a common theme or presentational concept are distinctive in the method of work used, with the mirror cycle particularly intriguing. In this part of the exhibition, we sense the author’s implied invitation to “dive into” her world and live in it at least for an instant. The mirrors of different circular formats, fragmented in parts of compositions or used in installations, reveal layered remnants of the artist’s past. In the most part, they are expressed by choosing various types of materials, which reflect the poetic dimension through a variety of textures and their erosion, patina, and deliberate adherence to the principle of saturation and insistence on decoration. A new level of reality is opened in the recipient’s eye: time, both past and present, is reduced to an instance of impression.”