| Abstract | Besmislenost figure primarna je tema istraživanja nasumičnog crtanja čije se krajnosti ljepote kriju u slučajnim skliznućima i skretanjima igle za crtanje u nepoznatim smjerovima kao volja koja raspolaže. Promatrač stječe dojam da se energije grafika postupno zgušnjavaju i gube što se dulje promatraju jer su odgovarale obliku koji je trebao tek reproducirati ono viđeno ili zamišljeno, a vrijedno doživljaja i prijenosa njegove vrijednosti. Pojam inklinacija grafičkih zapisa nastao je na temelju pojma inklinacije u znanstvenim disciplinama ili religijama. Primjerice, u geofizici se inklinacija definira kao kut između slobodno obješene magnetne igle i horizontalne ravnine, u astronomiji inklinacija je kut između ravnine gibanja nekog planeta ili kometa i ravnine ekliptike, u kršćanstvu je to pak naklon glave ili tijela Bogu, križu, svetcima, oltaru i slično... U ovom je slučaju inklinacija kut između matrice i igle za crtanje prema trenutačnom raspoloženju. Karl Popper tvrdi da, ako se sadržaj bilo čega uvećava, njegova se vjerojatnoća smanjuje, no u mojem je slučaju bilo obratno – vjerojatnoća se sadržaja grafičkih uzoraka neuhvatljivih misli i raspoloženja u danom trenutku crtanja povećavala. Imajući na umu da se zahtjev iskrenosti ne može formalizirati, preuzela sam rizik (ne)svjesnog crtanja poznatoga kao (ne)stabilnoga što se, iz nepoznatih razloga, u svim strukovnim školama i na likovnim akademijama smatra zabranjenom disciplinom. Sveti Bonaventura je za život u skladu s lijepim nabrojio četiri uzroka: 1. djelatni uzrok; 2. istiniti uzorak kao formalni; 3. uzrok dobrote kao svrhe; 4. (zadnji) uzrok kao lijepo koje obuhvaća sve uzroke i zajedničko je svima... i tiče se općenito svakog uzroka. Ja sam pak sasvim slučajno došla do spoznaje da su upravo te škrabotine možda taj četvrti uzrok koji se tiče svakoga od nas. Neizrečene misli koje nastaju tijekom najneočekivanijih trenutaka ili neobičnih situacija, primjerice na javnim skupovima, predavanjima na sveučilištu i sličnome, tijekom kojih se gubi koncentracija, nesvjesno projicirane na rubovima papira iz dosade – na koje se gotovo nikad ne obraća pozornost – iznimno su vrijedne za grafološku struku, koja znanstveno tvrdi da tako može otkriti pravu osobnost pojedinca. Smisao škrabotine kao čestice koja se ponaša kako želi i cilj igre skupljanje je grafičkih uzoraka, koji na začudne načine mijenjaju istinitost ovisno o udaljenosti i kutu promatranja linija, zbog čega je publika prisiljena promatrati grafike izbliza i izdaleka, čime se svakim 8 promatranjem suočava s opasnostima olakog i pogrješnog davanja značenja vizualnim elementima. Iskustvo izgubljenosti može se predočiti putem vlastitih intervencija prijevoda misli, ovdje putem oblikovanja grafičkih pisama kao posveta svjetlu, izvoru života i nadahnuću življenja. Postupno, procesom otiskivanja, matrice su se pretvorile u sebi slične te je stvoren niz beskonačno povezanih fragmenata, podijeljenih na manje matrice i linijski spojene na određenim razmacima da bi se s drugim matricama mogli vizualno spajati prema beskrajnoj rotaciji te nastavljati vlastiti put. Opisani su postupci u dijelu grafičkog ciklusa inklinacija koji prikazuje koliko daleko može ići reprodukcija reprodukcije. Da se iz ničega mogu stvoriti linije i vlastiti svjetovi, da tragovi tišine progovaraju o iskonskoj ljepoti, kojoj se ne možemo oduprijeti unatoč konstantnom trudu prilagođavanja načelima akademizma, sa zahtjevima da se svaku ideju prethodno skicira da bi se uzeli najljepši dijelovi i tek potom od njih načinila umjetnička djela. Navedeni obvezni pristup u meni je vrlo često budio poriv da činim suprotno, da svaku ideju koja mi dođe jednostavno nabacim na matricu ili papir, zbog čega sam često nailazila na negodovanje profesora, koji bi pak poslije konačno prihvatili moj neobični pristup, za koji su ustanovili da je iskren i da sam svakako bila upoznata sa svim pravilima crtanja kao i kompozicijama smještanja stvari u kontekst da bi se doživjela neka poruka koja se želi odaslati. Usprkos očekivanjima da linije ispadnu onako kako sam željela, to se nikad nije ostvarilo pa sam se prepustila igli da ispriča vlastitu priču. Tek se tada rodio jedinstven umjetnički jezik kao nježna i pažljiva kritika olakog shvaćanja umjetničkih poruka i zanemarivanja važnih informacija o budućnosti. Moj se rad u cijelosti može smatrati pomalo i kao bunt protiv digitalizma i uporno vraćanje korijenima istine. Bilo je neizbježno ne prolaziti kroz neugodne emocije u samom činu stvaranja i utiskivanja grafika kao kopija misli, iskreno i zbiljski, u vlastitoj intimi, tišini i samoći bez određenih saznanja unaprijed kako i na koji će se način roditi linije misli i grafike. Glas savjesti, kao najveća tajna čovječanstva, osluškivala sam tijekom cijelog procesa iscrpnog rada suhom iglom na matricama iako je bilo trenutaka slabosti da se odustane od svega jer je osluškivanje glasa savjesti sve samo ne poželjno u modernom društvu (iako je on najvažniji glasnik u određivanju prioriteta koji mogu ispuniti čovjeka). O najdubljim se tajnama, poznato je, ne govori kako ih se ne bi oskvrnulo, ali od njih se zaista živi i luduje i iz tog se tajanstvenog izvora crpi snaga, svladava život i ostvaruju pobjede. Činjenica da se od jednog slučajnoga grafičkog uzorka može načiniti cijeli spektar apstrahiranih fragmenata pretvorenih u estetske predmete zahvaljujući superiornosti digitalnog svijeta u odnosu prema zastarjeloj grafici, u kojem nastaju brojni parametri oblikovanja, dovodi do novih vrsta industrijalizacije misli. 9 Visoka estetiziranost grafika izdaleka ostavlja dojam hipnotizirajućih optičkih iluzija, a izbliza prikazuje sva moguća stanja čovjeka, izgubljenog i iznova nađenog u bujnom labirintu linija, čime se upućuje na raspadanje i sastavljanje svega čega se god dotaknemo, što nam otežava misliti i osjećati. Odustajanje umjetnosti od predmetnog bitka, destrukcija ljudskog lika i svega iz povijesne prošlosti, redukcija na elementarna sredstva likovnog izražavanja te čista poezija i atonalna glazba, sasvim su doveli u pitanje stare metafizičke temelje umjetnosti. Na žalost, danas stvaranje redukcije bilo čega mora biti automatizirano ako želi da se ozbiljno shvati, zbog čega sam ovim radom nastojala upozoriti na ozbiljnost problema automatizacije svega čega se dotaknemo – primjer su keramičke pločice kao nusproizvod koji prijeti grafikama po načinu masovne proizvodnje i široke primjene. Odricanjem od svega naučenoga istodobno se oslobađa polje najviše slobode umjetničkog stvaralaštva i tako se postupno konstituira vlastita ontološka struktura kao temelj nepresušnoga grafičkog jezika i jedinstvena cjelina s neizmjernim brojem uzoraka koji se ne mogu klasificirati zbog obilježja neponovljivosti, što daje određenu težinu stvaralačkoj slobodi: linijska lebdenja kao rastvaranje tvrdoće matrica uz čiste plohe i pojavljivanje biti svega i ničega, čime se istodobno otvaraju prostori sna kao čisti i duhovni oblici svijesti i podsvijesti, koji postupno postaju predmetom umjetničkih obradba; poliperspektivnost grafika kao volje koja raspolaže i koja ne poznaje vlastite granice jer nanovo postavlja pitanja prepoznavanja granica između želja i mogućnosti. Spektakularizacija keramičkih pločica potrebna je radi otkrivanja istinskog smisla, a zajedno s grafikama izložena su i povećala da bi se bolje razumjele izbliza kao i izdaleka jer mogu izazvati ugodne, ali i neugodne osjećaje. Danas je bitak umjetničkog djela u riječima i znakovima, a moderna je umjetnost zapravo bitno estetička informacija. Dakle, grafike je nemoguće odjednom razumjeti, štoviše, teške su za čitanje s razumijevanjem, a za čitanje bez truda razumijevanja vrlo ugodne i gotovo iluzionističke. Pred nastupom ere propasti čovječanstva ja i dalje uporno odbijam svaki formalistički pristup u ovome specifičnom radu jer ono umjetničko i povijesno susreću se ovdje u svom ujedinjujućem principu, principu tuge, po načelu agonije koja se očitava na grafikama. Škrabotine kao suvremeni vrisak modernog društva smatram dostojnim zapisima za likovne potrebe, kojima pridajem nov naziv – inklinacije grafičkih zapisa koje zapisuju stanja suvremenog društva u utrci prema savršenstvu. Rezultati izvanrednih i transcendentalnih iskustava pri promatranju grafika govore u prilog hipotezi iz kvantne fizike 10 da promatrač utječe na objekt koji promatra i da ne postoje izolirani promatrači mehaničkog svemira, nego sve sudjeluje u svemiru, bilo to lijepo bilo ružno. |
| Abstract (english) | The meaningless of figure which the end of beauty hides in accidental slippages and turns of a dry needle moving in unknown directions, as a will that delegates in spontaneous drawing through rhythmic rotation/alternation of schemes and correction of compositons or perspectives of a certain vaporous category which progressively gets more dense and starts to disappear the more it is observed, and so it ought to fit the shape which is yet to reproduce that which is seen or imagined, but worth experiencing. The headline Inclinations of graphic records emerged thanks to other inclinations which exist in scientific disciplines or religions, for example: 1) In geophysics inclination is defined as an angle between freely hung magnetic needle and a horizontal plane 2) In astronomy it is delineated as an angle between the plane of movement of some planet or comet, and a plane of ecliptic, while in christianity it is regarded as a bowing movement of the head or body towards God, cross, saints, altair and more. Karl Popper states that if the content of anything increases, their probability decreases. In my case opposite has been the truth in a sense that there was an increase in probability of the content of graphic patterns which correspond to elusive thoughts and moods in the precise moment of drawing. In my experience with drawing I have discovered that depending on the angle of a dry needle which I'm holding, characters of lines change. In other words, moods of the lines were incessantly exuberating as if they had existed before the very act of drawing, and yet these lines have never crossed my mind beforehand. For this reason I am persuaded in their credibility/authenticity, and I think that the term doodle or scribble and other vague forms of various subjects which cannot be put into a context of a certain discipline actually should be examined more closely with the help of other scientific disciplines which are open to exploring the incontrovertible character descriptions of the state of human condition in our contemporary society – through signatures, handwrittings, letters, paintings, graphics and more. My greatest praise and recognition goes to the untetheredness of lines, and I believe they deserve more attention since they are closest to the naked truth and beauty, simply because they are not burdened with appearances/aesthetics and content. The probability of the line increases the more it gets observed and that is an awe-inspiring/truly remarkable discovery in this doctoral thesis, and I honestly hope that others aswell will know to acknowledge and value this discovery. 12 Eventhough lines, scribbles, doodles and other trails of a needle point to visible deformations of a man and his relationship with others, on every exhibition I have noticed positive reactions in people, and although graphics can sometimes invoke unpleasant feelings I still offer to the audience the possibility of a mitigating observation by one's own will - to observe what they wish, not what they have to. Intentional transitioning from deep to high print is a positive manipulation for achieving the effect of transmuting the unpleasant things into pleasant elements for observation, which in itself, is a part of the larger process of accurately coming to understand the meaning of life. The observer of graphics is repeatedly surprised with being able to enjoy the obscene and therefore consequently is able to grasp the fact that he can be easily fooled/tricked, and that the information about the incredible speed of exchange between thoughts and information in our time and space through visual graphic interplay is extremely valuable, and I hope that the modern society will know how to use it for a noble cause and not for exploitation, which has become a common doing in every possible sense. Agitation is easily shifted by enjoying the act of observing that which we consciously choose to. If the observer notices any kind of unpleasant scribble, he chooses wether he will examine it in greater detail, or look at it from afar. Changing positions and distance from that which we observe according to our own will tells a lot about the limitations of man, and you get the notion that these limitations are purposely put in place so that we would not misuse the power of beauty and, most of all, life. A sense of control, when it comes to changing moods by one's own will when observing graphics and ceramic tiles, was constantly present in the consciousness of the observer on exhibitions which took place in Beograd, Zagreb and Berlin from 2017. to 2018. , which actually has been the end goal of this thesis. Through the motion of literal giving into the impulsive drawing, I believe I have succeded both in dignifying the already not enough appreciated role of graphics, and in pointing out that it reveals/expands our capacity for shifting attention/focus on important and unimportant matters/things. Through all of courage and humility encapsulated in the act of creation that excludes coercive thoughts, I ask myself how and in what way is it possible for me to discern or recognize the (implicit) values, and on which basis/premise? After a while I had to humbly admit that I don't know much about it except that I continue to ask the question of scribbles and other similar things as a new term which could quite fluidly become integrated in certain basics of modern art - in the aspiration towards notions of beauty or truth. It is also important to point out that not every scribble is a method of successful communication, and that our attention should have always been redirected at the 13 foundation/ substance of art itself. After all, that has been the only way for unique graphics to come forth, by our voice of conscience. I have only now been given the permission from academy to act exclusively upon it and expressively as possible prove it's undeniable voice as one of the most convincing in the world of art, and I have created these graphics to justify and solidify this sense of reliance. Having in mind that the request for sincerity cannot be formalized I took up this risk of (un)conscious drawing also known as (un)stable drawing, because of which it is regarded as a forbidden discipline in all vocational schools and academies of art. In 1250. Saint Bonaventura has pointed out only four causes for living a life in harmony with beauty : 1. Active cause, 2. Truthful pattern as a formal one, 3. Cause of virtue as a purpose and 4. Last cause as beauty which permeates all causes and is common to all... And pertains to every cause in general. I have accidentally came to a cognizance that scribbles may precisely be that fourth cause. Because if the most frequently unspoken thoughts that occur in the most unexpected moments, in peculiar situations such as in public gatherings, lectures at universities, are unconsciously projected at the edges of a paper out of boredom, and are left unnoticed by everyone except the graphologists who scientifically claim that in that way concrete traits of an individual can be traced down, then it has to be the case that causes of that which is beautiful are inherent in all of us. By this term beautiful I imply everything that moves us and inspires us, everything beautiful both inside and outside us that eludes us and enchantes us simultaneously. So then, the term scribble and doodle has been omnipresent through the game of graphic causes which surprisingly change veracity depending on the direction of observing lines, and the audience is forced to more than usually observe graphics both from up-close and afar. With every act of observation, they are faced with the dangers of creating misleading translations of words into drawings, and vice versa. The experience of disorientation can be presented through our own interventions,when it comes to translating thoughts, by shaping graphic letters as a devotion to light, the source of life and the inspiration for living. Gradually through the processes of stamping, the matrixes have turned into other alike ones, and therefore a series of fragments is created. Fragments are divided into smaller matrixes which are line-connected on certain points of the interval so that they could be visually merged with other matrixes and create their own pathways. Described processes are in part of 14 graphic cycles an inclination in which it is shown how far the reproduction of a reproduction can go. From nothing we can create lines and subsequently our own worlds, trails of silence which speak of primordial beauty that cannot be resisted in spite of constant effort to adjust to principles of academicism because of which we have to firstly sketch every idea so that we could extract the most beautiful parts, and only then make pieces of art out of these parts. That kind of concept is recognized as worthy of attention because it revolves around the (un)familiar way of drawing and creating, the purpose of life and beauty is found through a dry needle, but it is precisely because of the voice of conscience that drawing hasn't always been clear – the battle was being waged regarding leadership between scribbles, doodles and the meaningfulness of lines. Obligatory approach to sketches before every act of creation in academic world has quite frequently awoke inside me a drive to do exactly the opposite and to simply put every idea that comes to my mind on the matrix or a piece of paper. Because of this, I often had problems with my professors who only later understood and finally accepted my approach by realizing that I was just being honest, and that I surely was aware of all the rules of drawing just as I was aware of the compositions of putting things into a particular context so that a certain message that an artist wants to transmit could be experienced. In spite of my expectations for lines to turn out how I wanted them to, they never did, and that is why I have learnt to let go and surrender to the needle, so that it could tell mine, aswell as it's story, without an ending. This is how an incredible artistic language emerged, as a gentle and delicate critic of trivial understanding of artistic messages. My work can in it's entirety be easily declared as an insurgence against digitalism, as a return to the roots of truth itself. Pleasant and unpleasant emotions were inevitable when it came to the act of creation and imprinting my own graphic patterns of thoughts honestly in my own intimacy, silence and solitude without specific cognitions of where and when certain lines of thought would emerge. The voice of conscience, which to this very day has been the greatest secret of mankind, is the voice that I have listened to through the whole process of diligent work on matrixes, eventhough there were some moments of weakness where I wanted to give up from the whole attempt to listen to the voice of conscience, which is all but desirable in modern society eventhough it is the most important messenger when it comes to discerning priorities which are trully fulfilling to a human. It is widely known that the deepest secrets are not to be spoken of, except if we simultaneously desecrate them. But we live out of these secrets, it is exactly from that misterious source that we gain all our strength, overcome difficulties in life and achieve victories. The fact is that from a single accidental graphic pattern we can make a 15 whole spectrum of abstract fragments transmuted into aesthetic objects thanks to superiority of digital world in relation to the graphics where numerous shaping parameters of the same graphic pattern emerge, which leads to new kinds of industrialization of thought, and this is a little bizzare. And eventhough it is a little bizzare, these highly aestheticized graphics when looked from afar leave an impression of hypnotic optical illusions, while from up close they present all the various states of a man, lost and newely found inside an ample labirinth of lines, they point to the deconstruction and reconstruction of anything we touch, let alone think or feel. While the art's renouncement of objective substance/fundament, the destruction of human character and everything from the historical past, the reduction to the elementary means of visual expression, pure poetry and atonal music, have challenged the old metaphysical foundations of art, but today unfortunately reduction of anything has to become automatic if they are to be taken seriously , which I wanted to point out with the example with ceramic tiles easily accessible to all needs of the interior and exterior unlike difficult to reach graphics. Our habbit of solving problems with easier solutions doesn't necessarily mean that we are making a good choice. Ceramic tiles support the thesis that man's overvalued possibility of choice can turn into an unhealthy obsession, a feature of a modern man. By giving up everything that was learnt and simultaneously freeing the field of utmost freedom of artistic creation through work, gradually my own ontological structure was being constituted as an inexhaustible and unique graphic language as a whole with the exception from immeasurable number of patterns which cannot be clasified because of the unrepeatability of characters, which says a lot about the weight of creative freedom. Floating of lines and opening of the rigidity of matrixes helps in penetrating clean surfaces and in emerging of the fundament of everything instead of nothing, simultaneously dream spaces open up as the purest and most spiritual forms of consciousness as objects of an artwork. Multifaceted perspectives of graphics can be experienced as a will that delegates and knows no personal boundaries, and repeatedly asks questions of knowing the boundaries between desire and possibility. Spectacularization is nowadays unfortunatelly necessary for the goal of revealing the true meaning and that is why a magnifying glass goes with the graphics so that they could be better understood since they can cause pleasant and unpleasant feelings – observer both from afar, or up-close. Since nowadays the fundament of an artwork lies in words and signs, and modern art is actualla a vital aesthetic information, graphics are impossible to be understood at once. If we strive to understand them, they are hard to read, 16 but for reading without the effort to understand they are very pleasant, almost illusionary. Eventhough the era of the fall of man is about to pass the threshold, I still persistently refuse every formalistic approach in this work which corresponds to graphics and ceramic tiles, while gladly playing the higher price because art and history meet each other here, in their combined principle, the principle of grief. My approach to graphics, which I consider as one of the most universal languages in the world, in fact is a contemporary scream of modern society, most of all because I take my scribbles or doodles as one of the most sincere inclinations of graphic writtings which describe man's position in modern society through history. The results of the outstanding and almost transcendental experiences regarding the observation of graphics stand in support to the hypothesis from quantum physics the observer influences an object which he observes and there are no isolated observers of the mechanical universe, but everything is interconneted in the universe, out of which I can humbly deduce that every thing in the nature and the universe stands in it's place rightfully so. That is to say that that everything is how it should be, no matter how ridiculous it may sound to us, and these sorts of limitations serve as an example of teaching and serving. |
