Apparent Servitude
3ocm x 50 cm, 3mm steel
mix technique
2010
3ocm x 50 cm, 3mm steel
mix technique
2010
jelena tomasevic
curriculum pdf
sceneries on small, iron plates are just an attempt of depicting reality or questioning reality.
the reality has become more complicated. Whether “the truth” or reality exhausts from its causes, from its intention, from its actions or it goes beyond everything in order to exhaust itself from something else, that would be its purpose. or, maybe to exhaust itself from something which would make it possible to provide its purpose… exist the art on the other side of reality?
reality under the stuffy cover of art… no trick cheeky enough, no technique exciting, no effect enough strong.
obsession with things and useless piling of items which always has a secret side, is their radical matter; fragility of objects and architecture that look as if they are going to collapse and as if that tendency to collapsing is the mere reason for their existence.
in every edifice there is something that represents an event, and what makes that event is transcendental.
boredom, which inhabits people and all potential idiocy that people do for the purpose of getting rid of it.
in some way, my paintings are dedicated to people without ‘orientation’ in this world, or to those who even never had it. In this world “iron-cubes” are falling down, temper as hard as iron is an asset, armor protected from destiny and armed against people.
why on steel?
steel is material which is a product of an ore from the depths of the earth.
at the same time it has glow and dust-color, flexibility within it, coldness and weight.
It has everything to be persuasive.
as stated by kajzerling, “coldness is specific warmth of a metal”.
that is the material which will change.
it has potential to change or tendency to corrode, which means that passage of time will be visible on it.
by that, it is similar to life.
in technological sense, shading of whiteness is possible on works.
a “white” scene is taken from that possible, metal existence of the world.
these works are created to function as groups which together, make one work.
there are some bad works, just as we have some bad days.
they are inseparable part of the group.
small “paintings” or this scenery from apparent servitude, depict the self-sufficiency and existential depravity of modern man, dullness that draws people into strange indifference. (heidegger would say, “dullness is like silent fog…”) my intention with tools (e.g. hammer) which appears in some of the works, where the hammers sometimes slow down or hurt people, is to show perfidious social and political mechanisms that infect everyone’s privacy.
chance and different aspects of incidents coexist in my paintings.
I like to combine violence and humor in the context with two meanings.
I think that a certain degree of context with juxtaposition is valuable because it permits the viewer to perceive a theme with his or her own emotions and perceptions.
these pictures are in fact only short cuts of life that reveal ‘strangeness’ hidden behind ‘banality’ and are very similar to life itself. jt.
jelena tomasevic
lives and works in podgorica, montenegro, and berlin
curriculum pdfsceneries on small, iron plates are just an attempt of depicting reality or questioning reality.
the reality has become more complicated. Whether “the truth” or reality exhausts from its causes, from its intention, from its actions or it goes beyond everything in order to exhaust itself from something else, that would be its purpose. or, maybe to exhaust itself from something which would make it possible to provide its purpose… exist the art on the other side of reality?
reality under the stuffy cover of art… no trick cheeky enough, no technique exciting, no effect enough strong.
obsession with things and useless piling of items which always has a secret side, is their radical matter; fragility of objects and architecture that look as if they are going to collapse and as if that tendency to collapsing is the mere reason for their existence.
in every edifice there is something that represents an event, and what makes that event is transcendental.
boredom, which inhabits people and all potential idiocy that people do for the purpose of getting rid of it.
in some way, my paintings are dedicated to people without ‘orientation’ in this world, or to those who even never had it. In this world “iron-cubes” are falling down, temper as hard as iron is an asset, armor protected from destiny and armed against people.
why on steel?
steel is material which is a product of an ore from the depths of the earth.
at the same time it has glow and dust-color, flexibility within it, coldness and weight.
It has everything to be persuasive.
as stated by kajzerling, “coldness is specific warmth of a metal”.
that is the material which will change.
it has potential to change or tendency to corrode, which means that passage of time will be visible on it.
by that, it is similar to life.
in technological sense, shading of whiteness is possible on works.
a “white” scene is taken from that possible, metal existence of the world.
these works are created to function as groups which together, make one work.
there are some bad works, just as we have some bad days.
they are inseparable part of the group.
small “paintings” or this scenery from apparent servitude, depict the self-sufficiency and existential depravity of modern man, dullness that draws people into strange indifference. (heidegger would say, “dullness is like silent fog…”) my intention with tools (e.g. hammer) which appears in some of the works, where the hammers sometimes slow down or hurt people, is to show perfidious social and political mechanisms that infect everyone’s privacy.
chance and different aspects of incidents coexist in my paintings.
I like to combine violence and humor in the context with two meanings.
I think that a certain degree of context with juxtaposition is valuable because it permits the viewer to perceive a theme with his or her own emotions and perceptions.
these pictures are in fact only short cuts of life that reveal ‘strangeness’ hidden behind ‘banality’ and are very similar to life itself. jt.
jelena tomasevic
lives and works in podgorica, montenegro, and berlin