Structure 2, 2023

Bosiljka Zirojevic Lecic  

Deep blue tones dominate this composition. Sharp geometric angles cut across the surface. They create a compelling dialogue between depth and flatness. The artist explores the intersection of internal and external space. This conceptual approach defines the painting. Acrylic layers blend with earthy ochre hues. The result is a textured, atmospheric quality. Fine lines trace the borders of these abstract forms. They add a structural precision to the softness of the color transitions. The balance is precise. It evokes a sense of architectural minimalism. Every shift in shade suggests a hidden dimension. The composition breathes through its subtle gradients. It transforms the two-dimensional plane into a spatial experiment. The tension between cold blues and warm neutrals guides the eye. This artwork reflects a lifelong research into visual media and abstraction. It captures a moment of silent, geometric equilibrium. The play of light occurs within the layered acrylic application.

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.