Achromatic Variation 2, 3 & 10. Triptych, 2023

Bosiljka Zirojevic Lecic  

This triptych explores the intricate tension between internal and external space. The composition relies on a disciplined geometric language. Sharp lines carve the surface into intersecting planes. A muted palette of pale violet and soft white creates a luminous atmosphere. The colors do not compete. They shift subtly across the three panels. This creates a rhythmic movement throughout the artwork. Pure abstraction guides the eye through an architectural landscape. Each segment suggests a different angle of a fragmented volume. The artist employs a precise, academic approach to form. The balance between light and shadow is meticulously handled. Flat surfaces transform into perceived depths through strategic linear placement. This 2023 painting reflects a deep research into visual media and structural harmony. The result is a serene yet complex meditation on spatial perception. The interaction of monochromatic tones emphasizes the clarity of the drawing. Each panel functions as a standalone study while contributing to a cohesive narrative of geometric variation.

The series includes paintings 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 painting methods and painting procedures were applied: painting in a single layer, painting with an underpainting, applying paint in multiple layers, applying paint with the addition of other materials. Each separate surface in these geometric paintings has its own autonomy, its own colored and plastic integrity, and their harmony tends to create a compact whole in which all relationships are well balanced and give the 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. 

Acrylic on canvas From the Painting series. Signed on the back by the artist. Dimensions: Overall size: 13 H x 28.2 W x 1.5 D in. Individual size: 13 H x 9.4 W x 1.5 D in.