Foreward for the catalog in the RTS Gallery, Belgrade 2024
SHADOWS OF OBJECTS
Jelena Minić Mrđen: works of special painting...
How to find the future in the present? Art is a social phenomenon, and it involves everyone,
including even those who do not attach to it, nor notice it. Millennium civilization
direction of artistic expressiveness includes not only derived visible sensations, but also a
ubiquity, the process of swirling knowledge and condensation that can be astonishing conveyed by personalities of experiential strength and refined discernment. With extrapolated civilization,
with the burden of all knowledge, admiration, and often shortened opportunities for survival are in a paradox absurdity and controversies. Their contradictions are determined by the verb ' layering ' which have been regularly used in artistic examples for more than a century. Bold and defiant, and when it is in that century-old idea, the Surrealism movement as an artistic program globally began to express juxtaposition, bringing both nature and society, scandals and transgressions, tenderness and ferocity, and highlights the encounters of dissimilar things, phenomena and feelings, given in the works of art surprising proximity.
The early adaptation of what we see and what we can separate, for the artist, is inexhaustible
mine. Principles of appropriating found images and objects, supports, visible or of slipped sensations in the forms and sudden announcements especially from the beginning of this century to questions, what role and what skill does art offer that should act today?
The connected system has an almost organic vitality. It arose from clear difficulties, from
conflicting depositions of the subject unloading and from the real and unstoppable subject or
scrapbook accumulations. The need for satiation is a global property that cannot be met
overlooked, that ' saturation ' strength and energy on is an obvious meaning tide in mobilization excesses of informed existence.
The paradoxical paths of the accumulated baggage lead to the artistic consequences of the responsible, terrifying, and in some places extremely entertaining printing in which the process of true artistry in fine arts takes place.
Jelena Minić Mrđen such a reflexive and sensitive experience leaves to the painter's construction, introduced by the steps of not forgetting introduced shares. It is the same with paintings in large spreads of acrylic paste and, in them, introduced by hundreds of subject traces and associated relationships, compositions that are like the friezes from the traveled path tie into productive emissions of meanings and traces not only huge impressions in both paper and canvas or cardboard bases, in layers identified by a color that bears witness to the organic traces of new assemblies. Dysfunctionalized remains are carried away as compensation for time spent and general transformative workshop publication of her professional immersion in matter and traces of life.
The substance of content experiences, whether it is about works of great momentum, or with concentrated collage juxtapositions, it revives and is committed to the range of ideas of what
remains behind the short-lived forgotten situation and subject uses. It is also created amalgamated elusive in works of art disturbing substance that is out common perception.
After all, in some places, from today's point of view, romantic avant-garde reaches towards the subconscious. It permeates that greatest revolution, the revolution that is the thinking and feeling principle. It is about the phenomena, in the middle of the twenties of the century that escaped us, Walter Benjamin wrote as Fr ' the last snapshot of the European intelligentsia '. Now through such a media thinker is close 'thinking in pictures (Bild Denken – “think image”) ' for the approaches of Jelena Minić Mrđen shows energy inexhaustible artistically conquered zones of unsuspected initiation and research. There is a certain archeological or even media speleology in gatherings for its matter saturated art compositions, as a suffocated experience of transferring found objects and images from the ubiquitous popular culture. Traces of loss and obsolescence, and extremes and the oblivion that led to waste, make the collage material world a new vibrant one charge. Hence, object textures and receding recognizable events, reproductions art or agency and marketing photos position mass distribution instant recognition. Introduced as now non-aesthetic content of found and appropriated sensations in a game with the effort of shaping a secret art.
Polyptych 'Dreams ' in the 320 x 320 cm canopy is a square door from the collected zones, somewhat resembling a giant honeycomb, somewhat bioenergetic storage station like.
Memories are the dialogic direction of fate that faded in acrylic colors because we cannot remember a dream in its entirety, even in faded parts of uncertain recollections and collage construction. The beehive, or reservoir of that former defunct transmission is a metaphorical storehouse of pollen that is hidden and stored for transformation in tiny openings.
It is also reminiscent of the splashing fast water currents as in the collages from Max's subconscious Ernst, appearing in complex interrelationships, in the elegant gray matter of the paintings connection of the paper material introduced on the canvas. It is not unreasonable to call it neurodynamic, the mechanism of collected cells of touched transmissions, where the mechanics of biomatter and leakage, described experiences, allusions, photographic coincidences, quotes from the remains of museum memories reach a giant Euclidean measured space, opening up as an experience of the wondrous disclosures.
The deposition process involves the activation of not only peripheral vision and blinking - that something is always missed in the perception - but also the call of an unconscious way to approach hypnagogic representations which everyone can experience to any extent in the dream stages of imprinting and summoning sensory scenes as experiences of one's own mental representations.
Paradigm change is an associated direction, either in a horizontal, vertical or the diagonal participation of our gaze into the organically complex artistic reservoir.
If we imagine it in motion, it is possible to indulge in a domino effect, a chain reaction for introduced situations where it is easy to transfer into understanding the effect of fire, the presence of water or laws of gravity and chemical reactions amid introduced small objects, recordings and
their approaches. The process exposes the picturesque narratives of change, the mechanics that are embedded in art, uncertainty and given precision as a whole that will amaze rational consciousness. The painted reality is at the same time its fragmentation as an ornament of our
burdensome, emotionally shaken consciousness. Such types of crumple ratio do not have to be an ironic burden, but rather split, in Jelena's actions and fusion, Minić Mrđen as an accumulation of scenes and loaded turnstiles in consciousness, then – collage confronting the dynamization of art composition in her monumental polyptych with four crossed stations as a kind of a gateway to the subconscious.
The delirious transfer from layer to layer makes the process of deepening the image into relief massiveness and certain earthy association of clay binders. Exultation in front of ' Dreams ' is also observation of the monument of temptation. The gate of real eternity, as if from a symbolic culture the era is linked to the distant past for the stellar mission of poeticizing the experience of the past and internal fermentation. From the exiled Dante, she came to Rodin's depictions of the human experiences, in what remains after life in the 'Gates of Hell ' the famous sculptor. Right on such a mechanized adventure continued on the trail of the ruined remains itself, because the property of extensive decomposition and simultaneous connection is the motif of the integral circuit in art of Jelena M.M. Torn out remnants of the motherboard of worn-out personal computers, that the unifying informatics matriarchal sustainability of data, reduced and disconnected connectivity, an index was introduced that once provided the reliability of its portable, pedagogical and, above all, logical roles. Such picturesqueness of discarded found objects of the information era, just like the blacked-out screens, dates back to the gradual acceptance of the world that has been changing since the beginning of the nineties, when geopolitical, economic, the scientific, climatic layering stage heats up to swirling friction. Although they are smaller format collages with expertly unexpected frames, they are a part of that clear scene readability, as well as the giant 'Dreams ' the evidence of a lost or obscured connection, shadow objects, those remnants of a developed civilization, and all this confirms the fantasy of the imagined pictorial travel. They are a unified beehive of our psyche, strung together from other places and escaped locations, in artistic processing - the traversed path of the temptation of paradox tottering world that keeps us in power.
Collages provide stealth in the shadow of clashing headline swings. Variants score points
merging zones, like the parts ' Prayer ', ' High voltage ', ' Epiphany ' All of them individually introduce aspects of subconscious traces, but also a point to the energy of perceived depths unconscious.
The epic scale of the parts of the painting adventure, regardless of the dimensions of the work, is counted in experience with which Jelena M.M. becomes a refuge of a generous invitation to an adventure of artistic immersion.
Nikola Šuica