2004. Serbia, Belgrade, gallery Vid
2004. Montenegro, Petrovac, gallery Marko K. Gregovic
2004. Serbia, Novi Sad, gallery ULUV
Having seen the series of mini graphic prints by Jelena Bjelica Damjanovic a young and already established artist, I experienced the pleasantness of a harmonic and contemplative geometry.
These urban landscapes, which in their final instance converge into pure geometry, are part of a completely new ‘modern’ life in the realm of architectural shapes, computer communication and other traditions of our civilisation, conditioned by fast and effective communication.
Although the foundations of these initial associations and urban contemplations are geometric by virtue, they are also abundant in plastic qualities giving a true impulse of life to all the miniature shapes.
Pleasant coincidences that emanate from zinc etchings, impulses given by personal hand strokes and the sensitive lines drawn in individual segments of the composition, open new spaces through which these graphics leave their impact on the observer. The occasional hint of familiar and recognisable shapes and items wakes out imagination and nostalgic memories of past times.
The atmosphere in these graphic prints is reminiscent of the scenes of somewhat derelict urban sights and gleaming reflections of vast glass surfaces that mirror virtual reality. The true beauty of these prints, however, is in the use of classic technology of deep print in which the paper itself, colour and every trace of etching convey an organic and gentle quality to the prints, which radiate sophisticated personal vibrations by the artist. She has cast a profound sensitivity onto her work by using an intimate perspective to reflect on the space and time we live in.
Congratulations to Jelena on her monumental miniatures.
Jelena Bjelica presents her work with a complex sequence of graphic prints – miniatures. Her work is very analytical and thereby creates a whole range of different artistic entities.
The initial impression of her graphic prints certainly remains that of versatility and complexity. Colour, composition and the very technique used each present different aspects of a carefully elaborated concept of the ‘miniature’ assemblage, which reflects the inquisitive and sagacious nature of the artist. Each of these aspects becomes revealed in the perspective of field-glass windows.
By playing with multilayered quality of light, Jelena Bjelica creates a mosaic-like compositional entity and as a master of abstraction, she uses her ‘cosmos-like’ vision in order to discard the superfluous and the descriptive.
Truly, an astonishing range of minuscule detail becomes embedded in a solid geometrical composition. The small format graphic prints radiate an astonishing clarity. Naturally, Jelena Bjelica’s work does not omit a healthy dose of association playing and in this way crates a careful flirtation with a purely abstract vision, though not entirely giving in to it. Like peaces of coloured glass surrounded by a white line which is weaving extra depth around them, the prints present spirited casts beyond the profane.
The clarity emanating form Jelena Bjelica’s graphics evolved form focusing on the world surrounding her and the main intention behind her work remains in fact a quest for the wholeness of the world around us.