Blue Composition 2 and 3, 2023

Bosiljka Zirojevic Lecic  

This acrylic diptych explores the tension between internal and external dimensions. Two panels interact through a shared palette of deep cerulean and muted grey. The composition relies on sharp geometric divisions. These lines create an architectural rhythm. They suggest the intersection of walls and open air. Precise angles carve the space into fragmented planes. Soft textures contrast with a rigorous structural logic. The surface reveals a delicate layering of tones. Light seems to shift across the surfaces. This creates a subtle sense of depth and atmospheric perspective. The approach remains minimalist. It strips the environment down to its essential forms. The result is a meditative study of spatial relationships. Balance is achieved through the mirroring of heavy blue masses and airy white voids. This artwork translates complex urbanism into a serene visual language. It focuses on the silent dialogue between solid boundaries and empty space. The panels are unified by a consistent linear flow that guides the eye from one frame to the next. Each intersection emphasizes a precise intersection of light and shadow.

The series includes drawings where analytical relationships towards the essential elements of pictorial plastic creativity are dominant: surface, line, color, matter and material; geometry functions as a framework within which the possibility of dealing with the surface/surfaces as the basic problem of painting.
Several combined painting and drawing methods and procedures were applied: glaze underpainting, applying paint in several layers, combining watercolors, acrylic paints, oil pastels and drawings. Each separate surface in these geometric paintings has its own autonomy, its color and plastic integrity, and their harmony tends to create a compact whole in which all relations are well balanced and leave an impression of order, harmony and concord.

The basic premise of her artistic expression over a long period refers to the need for constant experimentation with the very construct of the painting and the material from which it is made. Within the established system of geometric, reduced forms that make up her artistic language, the surface of the painting and its pictorial value impose themselves as another field of action and possibility for expression. Positioning the material as a building element of the painting provides the opportunity to work and explore within an expanded field, where the characteristic properties of the materials used offer potential for the development of a specific artistic expression. By using unconventional painting substrates like aluminum, plush, PVC material, foil, and woolen fabric, the painting becomes part of a process that translates it into a painting-object, moving beyond the established plastic system of surface organization. This sculptural processing of the painting as an object provides a wide range of new modalities in positioning its visual and spatial effect. At the same time, the selected material, with minimal interventions, forms the basis of a system of geometric images and shapes that are consciously devoid of color. The materials used are most often achromatic, and in such a reduced order of all formal elements, a relationship is established between rhythm as a state and rhythmicity as a process. Her architectural approach of combining and composing reduced forms, which she treats as plates that fit together, gives her the opportunity to analytically connect with the essential elements of the plastic system: surface, line, color, matter, and material. By emphasizing composition and building structure through the relationships of forms, she strives for a compact whole in which all relationships are carefully thought out.

From Drawing series.
Mixed media on semi-transparent industrial paper.
Dimensions: 
Overall size: 11.8 H x 16.4 W in.
Individual size: 11.8 H x 8.2 W in.
Signed in the lower left corner with initials by the artist.