| Abstract | «Iz nepojmljivih razloga (...) zapadna civilizacija općenito vjeruje da je životinja u nama bila loša životinja i da su naši najprimitivniji nagoni zli, pohlepni, sebični i neprijateljski raspoloženi. Teolozi su to nazvali izvornim grijehom ili vragom. Freudovci su to nazvali Id (...). Darwin je bio toliko poistovjećen s tim pogledom da je u životinjskom svijetu vidio samo konkurenciju, potpuno previdjevši suradnju koja je jednako česta (...)»1
Ciklus radova pod nazivom «Edipova Koža» izražava, kroz različitu serijalnost formi, htijenje za razumijevanjem i introspekcijom, traganje za suštinom. Kroz dugotrajno razvijanje ovih radova, spoznala sam da je jedini odgovor koji si mogu dati na mnogobrojna pitanja, upravo još samo jedno (ili tisuću) daljnje pitanje. Izvedeni ciklus ima kao prvenstvenu namjeru propitkivanje, razumijevanje konstrukcija kojima smo, kojom jesam, okružena (u društvu i u samoći). U kojem su odnosu sustavnost društva i metafizika duše? Dugotrajnost suočavanja sa ovom diplomskom temom me provela kroz putovanje različitih gledišta na vlastiti rad, u konačnici, na poantu objekata i same cjeline. Ona se promijenila kroz vrijeme. Prvobitni stvaralački hir, kontingent, bila je svojevrsna srdžba, frustracija i htijenje za promjenom ustaljenih konstrukata koji, zbog svoje krutosti, onemogućuju cjelovito proživljavanje/izražavanje sebe i svijeta. Početni impuls, kroz čitanje i proučavanje, sazrijevanje, se promijenio, ne toliko u htijenju, koliko u obliku. Izjave su postala pitanja. Samim time su se pročistile i riječi, pročistio se smisao (mog) stvaralaštva. Edipova koža, njeno guljenje je simbol metamorfoze i započinjanja novog ciklusa, analogno sa vlastitom psihom i trenutkom u kojemu se nalazi moje biće. Edipov kompleks je (simbolički) prvi u nizu izvanjski dobivenih presuda koje uvjetuju pojedinca. Zato ga je potrebno shvatiti, proučiti, objektivno internalizirati njegov modus operandi i u konačnici, odbaciti. Ikonografski moment Edipa koji se u očaju spoznaje nesvjesnog ispunjavanja vlastite okrutne sudbine zaslijepi - analogan je sa htijenjem za bijegom naspram nužnosti introspekcije i preuzimanja odgovornosti vlastite psihologije. Ogoljevanje pred samim sobom je osnova za lišavanje duha zatvorenosti. Ogoljevanje krutosti omogućava fluidnost. U tom kontekstu, ovaj opus se još nalazi (kao i ja) u fazi pokušaja razumijevanja, traganja. Objekti ne utjelovljuju, ne reprezentiraju, već su prisutni kao hipoteze, kao upitnici bez odgovora i kao poziv na sudjelovanje u njihovom traženju.2 1 Maslow, A.H. (1970.), Motivation and Personality, Reprinted from the English Edition by Harper & Row, 1954., str. 83
2 Adriana Sudarić |
| Abstract (english) | «For incomprehensible reasons (...) Western civilization generally believes that the animal in us was a bad animal and that our most primitive instincts are evil, greedy, selfish, and hostile. Theologians called it the original sin or devil. The Freudians called it Id (...). Darwin was so identified with this view that he saw only competition in the animal world, completely overlooking the cooperation that is equally common (...) »
The series of works entitled "Oedipus' Skin" expresses, through different serial forms, the will to understand and introspect, the search for essence. Through the development of these work, I realized that the only answer I can give myself to the many questions is just one more (or a thousand) further questions. The derived cycle has as its primary intention the interrogation, the understanding of the constructions with which we are, by which I am, surrounded (in society and in solitude). What is the relationship between the systematics of society and the metaphysics of the soul? The longevity of dealing with this graduate topic took me through a journey of different perspectives on my own work, ultimately, on the point of objects and the whole itself. She has changed over time. The original creative whim, the contingent, was a kind of anger, frustration and a desire to change the established constructs which, due to their rigidity, make it impossible to fully experience / express oneself and the world. The initial impulse, through reading and studying, maturing, has changed, not so much in will as in form. Statements have become issues. With that, the words were purified, the meaning of (my) creation was purified. Oedipus' skin, its peeling is a symbol of metamorphosis and the beginning of a new cycle, analogous to my own psyche and the moment in which my being finds itself. The Oedipus complex is (symbolically) the first in a series of externally obtained judgments that condition an individual. It is therefore necessary to understand it, to study it, to objectively internalize its modus operandi and, ultimately, to reject it. The iconographic moment of Oedipus, who is blinded in despair at the realization of the unconscious fulfillment of his own cruel destiny, is analogous to the desire to escape the necessity of introspection and taking responsibility for his own psychology. Stripping in front of oneself is the basis for depriving the spirit of confinement. Stripping stiffness allows for fluidity. In this context, this opus is still (like me) in the phase of trying to understand, to search. Objects do not embody, do not represent, but are present as hypotheses, as unanswered questionnaires, and as an invitation to participate in their search. |
