Nevena Martinovi\u0107<\/strong><\/p>\n PREOBRA\u017dAJI PRIRODE (I) UMETNOSTI<\/strong><\/p>\n O STVARALA\u0160TVU ANDREE IVANOVI\u0106 JAK\u0160I\u0106<\/strong><\/p>\n Topao vazduh, ugrejan od pe\u0107i koja se ne gasi, ispunjava prostor umetni\u010dinog ateljea. Polegli ili uspravljeni, tek za\u010deti ili gotovo ro\u0111eni, masivni objekti nabrekli od materije, naizgled miruju u svom skrovi\u0161tu i prepu\u0161taju se sporom delovanju elementa vazduha. Tu, u radnom prostoru Andree Ivanovi\u0107 Jak\u0161i\u0107, u\u0161u\u0161kanom u sporednoj ulici malog grada, doga\u0111a se zagonetka stvaranja – prirodni proces postaje alhemijski. Vazduh izvla\u010di vlagu iz nagomilane oblikovane tvari i tim\u0435 istovremeno stvara umetnost. Zadu\u017een za njihovu postojanost, kada ih sasvim isu\u0161i i o\u010dvrsne, vazduh prepu\u0161ta Andreine nesvakida\u0161nje apstraktne reljefe narednim etapama oblikovanja. \u010citave nedelje, pa i mesece,umetnica provodi u radu na jednom od svojih objekata-slika. U tom dugom i fizi\u010dki zahtevnom procesu ona uspostavlja odnos sa prirodom kao \u017eivim entitetom kome ose\u0107a da i sama pripada. Iz takvog odnosa proisti\u010de umetni\u010dino poverenje u prirodu kao saradnika – strpljenje prema vazduhu koji radi sporo, kao i najve\u0107e po\u0161tovanje i pa\u017eljivostprema vatri koja donosi najdublje transformacije u njenom radu. Od najranijih umetni\u010dkih koraka oslonjena na nagonsku i kontemplativnu vezanost za prirodu Andreina stvarala\u010dka li\u010dnost pronalazi ispoljenje tek u dinami\u010dnom simbiotskom odnosu sa materijom prirode. U toplom vazduhu svog ateljea, natkriljena nad poluosu\u0161enim objektom, ona ose\u0107a da je ta tvorevina jednako umetni\u010dka koliko i organska. Da ju je jednako oblikovala njena promisao i njen potez koliko i (ne)vidljive prirodne sile koje operi\u0161u na skrivenom molekularnom nivou.<\/p>\n ***<\/p>\n Ve\u0107 u prvim postdiplomskim godinama, umesto da svoju stvarala\u010dku energiju kanali\u0161e postoje\u0107im slikarskim sredstvima, mlada umetnica po\u010dinje da istra\u017euje izvan granica tradicionalnih umetni\u010dkih disciplina i njihovih medija. U traganju za pravim na\u010dinom opredme\u0107enja svoje vizije Andrea iznalazi sopstvenu materiju, tehnologiju i postupak, igraju\u0107i se spontano i slobodno u me\u0111uprostoru koji odvaja i povezuje sliku\/crte\u017e i skulpturu\/reljef. Tada nastaju radovi na papiru koji odbacujuosnovne postavke crte\u017ea – na kojima ne samo da ni\u0161ta nije nacrtano, ve\u0107 nema ni tragova crta\u010dkog postupka i alata. \u010cak je i pojam \u201eradovi na papiru\u201c krajnje uslovan jer je papir samo polazi\u0161te u gra\u0111enju jedne druga\u010dije podloge. U pojedinim grupama radova iz ciklusaIzme\u0111u nade i bezna\u0111a<\/em> (2004-2005) i Filozofiranje \u010deki\u0107em<\/em> (2005-2006) Andrea umesto hartije za crtanje pravi podlogu od smese ukva\u0161enog i poludekompostovanog papira da bi od nje, slojevitim nano\u0161enjem i postepenim su\u0161enjem, izgradila osnovu nevelike debljine ali izuzetne \u010dvrsto\u0107e.Takva podloga (ali i druge znatno fragilnije) postaje nosilacnagla\u0161eno fizi\u010dkih akcijasprovedenihneslikarskim sredstvima \u2013 udaranje \u010deki\u0107em (Filozofiranje \u010deki\u0107em<\/em>), bu\u0161enje i zagrebavanje (\u017drtva<\/em>, Pobunjenik<\/em>), paljenje i sagorevanje (Sagorevanj<\/em>e). U narednim godinama, u okviru ciklusa Usavr\u0161avanje ve\u0161tine postojanja<\/em>(2008-2010)umetnica unapre\u0111uje stvarala\u010dki proces primenom sli\u010dnih tehnologija i procedura na platna velikih dimenzija \u010dime nastajuhibridne slike-objekti. U njihovom kosturu nalazi se platno na blind-ramu, a pozicija iz koje komuniciraju jednako sa umetnicom i publikom frontalna je kao i kod slike. Me\u0111utim,osobeno\u0161\u0107u svoje geneze (kori\u0161\u0107enjem neslikarskih materijala i procedura), nagla\u0161enom strukturom materije i nagove\u0161tenom tre\u0107om dimenzijom (debljine od 6 do 10 cm) ovi radoviiskora\u010duju iz diskursa slikarstva i name\u0107u se svojom objektno\u0161\u0107u.<\/p>\n Ciklusi radova na papiru Filozofiranje \u010deki\u0107em<\/em> i slika-objekata Usavr\u0161avanje ve\u0161tine postojanja<\/em> pripadaju zajedni\u010dkoj fazi, mo\u017ee se re\u0107i i prvoj velikoj fazi Andreinog radau kojoj se jasno raspoznaju dva dominantna stvarala\u010dka principa.Jedanse odnosi na proces stvaranja: umetni\u010dko delo nastaje kao rezultat umetni\u010dkog delovanja. Ideja ili stanje kao sadr\u017eaj rada opredme\u0107ujuse umetni\u010dinom akcijom. Drugi princip se odnosi na delo kao umetni\u010dki objekat \u2013 ono nije samo posledica delovanja ve\u0107 je predodre\u0111eno da bude tragideje i umetni\u010dkog iskustva. Grupa radova na papiru Filozofiranje \u010deki\u0107em<\/em> i grupa slika-objekata zbirno nazvana Voli svoju sudbinu<\/em> (svaki od tri rada uklju\u010duje distinktivne pojmove: \u201eDi\u0161em\u201c, \u201eKrvotok\u201c i \u201eKosmos\u201c)nastaju kao proizvod akcije u kojoj po\u010diva puna Andreina koncentracija i koja jeste osnovni oblik ispoljavanja stanja u kome se umetnica nalazi. Silovit udarac \u010deki\u0107a o beton na koji je postavljen papir(Filozofiranju \u010deki\u0107em<\/em>) ili smireni i koncentrisani ubodkoji probija tkivo podloge (Voli svoju sudbinu<\/em>) \u2013 sprovedeni u repetitivnom postupku\u2013 ovi potezi jesu osnovni iskaz Andreinog egzistencijalnog trenutka. Vode\u0107a uloga same akcije, i to neestetskog isvakako neslikarskog karaktera, uvodi performativnu dimenziju u Andreinu umetnost. Ona sama ne skriva naklonost prema performansu, od Jozefa Bojsa do Marine Abramovi\u010d, zbognjegovog stavljanjajednakosti izme\u0111u umetnosti i \u017eivota. Filozofiranje \u010deki\u0107em<\/em> jeste otisak sirove \u017eivotne energije, koja se neizdr\u017eivo i nezadr\u017eivo manifestuje udarcem. Umesto verbalnim ili vizuelnim formama koje ju zatvaraju u apstraktne semanti\u010dke okvire, Andrea tra\u017ei od sopstvene kontemplativne prirode da ostavi fizi\u010dki trag i donese realnu promenu u njenom postojanju. Da ideja udari. Da rupa i ogrebotina postanu ne samo metafora ve\u0107 realni trag ideje u \u010dulnom prostoru. Da se filozofska na\u010dela spuste iz teorijskog oblaka i neopozivo po\u010dnu da se \u017eive. Papir polo\u017een na beton o koji umetnica udara \u010deki\u0107em jeste lakmus traka koja bele\u017ei koncentraciju buntovne energije. Poderotinama, ogrebotinama i rupama na njemu akcija ispisuje ultimatum postojanju. Slika-objekat Voli svoju sudbinu-di\u0161em<\/em> (mada se za primer mogu uzeti i druga dva rada iz iste grupe) prethodnom radu je bliska kakovizuelno (podloga koja je celom povr\u0161inom izbu\u0161ena sitnim rupama)tako i konceptualno, s obzirom na to da je proces stvaranja sproveden kao akcija i do\u017eivljen kao iskustvo.Me\u0111utim ovaj rad nosi dijametralno suprotnu energiju \u2013 stabilnu, kanalisanu i osve\u0161\u0107enu. Umetnica se u sesijama posve\u0107uje sporom bu\u0161enju rupa u podlozi. Ponavljanje istog postupka u kome je celokupna koncentracija sabrana u nekoliko jednostavnih poteza uvodi u stanje meditacije, odnosno osve\u0161\u0107ivanja sopstvenog disanja (Di\u0161em<\/em>) i otkucaja srca (Krvotok<\/em>) – sopstvenog prisustva (Kosmos<\/em>). Ovaj proces pretvara umetni\u010dko delo u meditativno uto\u010di\u0161te, u prostor samootkrivanja, na sli\u010dan na\u010din na koji to posti\u017ee Marina Abramovi\u0107 svojim performansom Brojanjepirin\u010da<\/em>. RadoviVoli svoju sudbinu<\/em>ukazuju na prelazak iz ekstrovertirane, brutalne i pobunjeni\u010dke energije koja je metafora aktivnog principa, delovanja i kretanja(u Filozofiranju \u010deki\u0107em<\/em>) \u2013 u usporeno stanje ne-delanja u kome se \u010dovek jednostavno \u201egleda kako postoji\u201c[1]<\/a>.Naslov \u010ditavog ciklusaUsavr\u0161avanje ve\u0161tine postojanja<\/em> upu\u0107uje na izgubljenost \u010dovekovog dodira sa sopstvom.U vrtlogu stalnog delanja, izme\u0111u automatskih svakodnevnih aktivnosti i svesnog ispunjavanja zacrtanih ambicija, izme\u0111u imperativa stalnog kretanja kroz vreme i prostor, alii sveobuzimaju\u0107eg virtuelnog \u017eivljenja\u2013\u010dovekova svest o sopstvenom postojanju i prisustvu biva odlo\u017eena, neretko na\u017ealost i ukinuta. U Andreinom slu\u010daju, umetnost jeste meditativni proces \u2013 ona je ta ve\u0161tina kojom se umetnica zaustavlja, odbacuje omota\u010d vremena-brzine-anga\u017eovanosti i ostaje ogoljena pred sobom. Na trenutke se \u010dini da je slo\u017eena procedura izvo\u0111enja Andreinih radova podsvesno inicirana njenom dubokom potrebom za trajanjem, za dugim i sporim procesom koji joj pru\u017ea vreme i okolnost da se iz svakodnevice ponovo spusti u sebe. Stoga, tri rada Voli svoju sudbinu<\/em> jesu vizuelni manifest meditativne uloge umetnosti u Andreinom stvarala\u0161tvu.<\/p>\n Proces stvaranja umetni\u010dkog dela, kao \u0161to smo videli, za umetnicu jeprvenstveno iskustven, a posledi\u010dno realizacion. Me\u0111utim, kroz radove na papiru kao \u0161to su \u017drtva<\/em>(2005), Pobunjenik<\/em>(2005-2006) ili Sagorevenje<\/em>(2005-2006), a posebno u slikama-objektima kao \u0161to su Privid<\/em>(2008-2010) i Vra\u010d<\/em>(2008-2010)taj proces je duboko skop\u010dan sa umetni\u010dinim rukovanjem materijom iz prirode. Tu materiju Andrea koristi kao tkivo u kome iskustvom akcije ostavlja trag – realizuje umetni\u010dko delo kao otisak ideje u prirodnoj tvari.\u00a0 U slo\u017eenoj upotrebi prirodnih materijala (drveta, papira, pamuka), elemenata prirode (vode, vatre i vazduha) i prirodnih procesa (kva\u0161enja, su\u0161enja, sagorevanja, raspadanja), razlikuju se postupak gra\u0111enja podloge i proces njenog \u201enaru\u0161avanja.\u201c Odnos podloge i traga, karakteristi\u010dan za klasi\u010dan medij slike, bivasu\u0161tinski izmenjena time \u0161to trag ne ostaje na povr\u0161ini podloge, ve\u0107 se utiskuje i postaje uzrok njene unutra\u0161nje strukturalne transformacije. Na\u010dinjena od prirodne materije, podloga se pona\u0161a kao \u017eiva tvar i ne samo da pru\u017ea otpor ve\u0107 i reakciju na Andreine poteze – udarce, bu\u0161otine, posekotine, sagorevanja. Naposletku nastaje umetni\u010dki objekat kao svojevrsno o\u017eiljno tkivo. O\u017eiljak, izraz koji sama umetnica rado koristi, me\u0111utim nije shva\u0107en kao posledica bolnog iskustva, ba\u0161 kao \u0161to ni naizgled agresivni postupci nisu predumi\u0161ljeni kao povre\u0111ivanje. U pitanju je opredme\u0107enje umetni\u010dinog promi\u0161ljanja o postojanjui to kroz postupak kojim se reinvenira sam \u017eivot. Dobar primer su radovi na papiru naslovljeni \u017drtva<\/em>, na \u010dijem tragu je potom nastala i slika-objekat Vra\u010d<\/em>. U sr\u017ei ovih radova u kojima je podloga sirovo razgrebana u razli\u010ditim pravcima le\u017ei Andreino promi\u0161ljanje o fenomenu \u017ertvovanja kao jednom od vidova najdublje transformacije u \u017eivotu \u010doveka. Vizuelni pokreta\u010d ove kontemplativne preokupacije bila je istro\u0161ena kuhinjska daska za se\u010denje koja je svoj oblik i boju promenila usled bezbrojnih ureza, udaraca i \u017eivotinjsko-biljnih sokova kojima je godinama natapana. Na tom starom par\u010detu drveta kasapljenoje meso, pripremani porodi\u010dni obroci i prazni\u010dne trpeze za koje se u paganskim religijama uvek vezuje ritualno \u017ertvovanje \u017eivotinja ili biljaka. \u017drtva uvek podrazumeva trpljenje kao zalog preina\u010denja lo\u0161eg u dobro, tegobnog stanja u blagostanje, gubitka u dobitak, pogre\u0161ke u iskupljenje. U religiji \u2013 \u017ertva jeste verovanje u praksi, ono koje u krajnjoj instanci vodi u najvi\u0161i oblik transformacije \u2013 \u017eivot posle smrti. \u017drtvovanje Bogo-sina od strane Bogo-oca, odnosno \u017ertva koju Hristos podnosi jeste sredi\u0161nji doga\u0111aj hri\u0161\u0107anske istorije \u2013 onaj koji donosi spasenje i ve\u010dni \u017eivot \u010ditavom ljudskom rodu. No, \u017ertva je u Andreinoj perspektivijednako ona u \u017eivotu obi\u010dnog \u010doveka – kontinualno oduzimanje manjeg ili ve\u0107eg dela sopstva zarad dobrobiti drugoga. Mehani\u010dke ogrebotine u podlozi \u017drtve<\/em> ili one nastale kontrolisanim spaljivanjem materije u Vra\u010du<\/em> jesu mesta na kojima je razgradnja preina\u010dena u stvaranje, na kojima se podloga transformi\u0161e u umetni\u010dko delo. \u017drtvovanje stabilnosti, sklada, celovitosti jeste put sazrevanja, a o\u017eiljak nastao u tom samonaru\u0161avanju zapravo je mesto ra\u0111anja identiteta \u2013 bilo kao autenti\u010dnog dela umetnosti ili kao \u010dovekove li\u010dnosti.<\/p>\n Nova faza u stvarala\u0161tvu Andree Ivanovi\u0107 Jak\u0161i\u0107 nastaje sa ciklusom radova \u010covek je priroda<\/em> kome pripadaju i najnovija dela nastala tokom 2019. i 2020. godine. U slikama-objektima iz prethodnog ciklusa Andrea je stvarala utiskuju\u0107i svoj potez i akciju u podlogu. Podloga je u tim radovima uvek u polo\u017eaju prirodnog entiteta koji trpi, a \u010dija transformacija se doga\u0111a u dubini strukture, u samom tkivu, ostaju\u0107i percipirana plo\u0161no, nalik ko\u017ei ili kori drveta. Andrea je ta koja menja tkivo prirode svojim delovanjem – akcijom koja, kao \u0161to smo ve\u0107 videli, za umetnicu ima veoma va\u017enu ulogu kao proces samoispoljavanja i samospoznaje. U grupi radova koje stvara od 2012. godine umetnica izlazi iz dominiraju\u0107eg polo\u017eaja spram podloge i uspostavlja ravnopravan odnos sa materijom.Posledi\u010dno ono \u0161to je bila mestimi\u010dno zaravnjena podloga i pona\u0161alo se kao sloj prirodnog tkiva sada postaje duboki reljef i pona\u0161a se kao organ ili telo. Otuda je za radove iz druge velike faze Andreinog rada, koja i danas traje, pravilnije koristiti odrednicu objekat-slika. Unutra\u0161nji oslonac i dalje je nategnuto platno, rad se i dalje primarno posmatra sa frontalne pozicije (mada zbog igre svetla i senkiu dubokom reljefu zahteva kretanje posmatra\u010da do samih ivica). Me\u0111utim, iako nije slobodnostoje\u0107i objekat umetnica ga modeluje u materiji i istiskuje u prostor, kako ispred nevidljivog kostura blind-rama tako i izvan njegovih bo\u010dnih ivica, stvaraju\u0107i nepravilne i fluidne granice izme\u0111u rada i prostora. Na ovaj na\u010din utisak o objektnosti rada – njegovoj reljefnoj strukturi, izra\u017eenoj masivnosti, zasi\u0107enosti materijom -postaje vode\u0107i element u definisanju prirode radova iz ciklusa \u010covek je priroda<\/em>. Rukuju\u0107i velikom koli\u010dinom prirodne smese koju sama pravi, nanosi, oblikuje, su\u0161i, ponovo kvasi, remodeluje, ponovo sporo i dugo su\u0161i,kontrolisano pali i sagoreva, brusi \u2013 Andrea sa materijom uspostavlja svojevrstan sparingpartnerski odnos. Kao \u017eiva tvar pod uticajem \u017eivih procesa, prirodna materija je nepredvidiva a manipulacija njomepretvara se u naizmeni\u010dnisukob i usagla\u0161avanja njene i umetni\u010dine \u0107udi. \u201eImam utisak kao da sam u sukobu sa izra\u017eeno animalnom energijom. Kao da se borim sa sna\u017enom \u017eivotinjom u materiji, ili u sebi\u201c[2]<\/a> \u2013 opisala je umetnica svoj svakodnevni do\u017eivljaj u procesu rada na najnovijem objektu-slici, koga je naslovila Opstanak<\/em>(2019-2020). Naposletku strpljive ali intenzivne borbe, me\u0111usobnog otimanja i prepu\u0161tanja, nastaje delo kojim umetnica vi\u0161e ne upisuje sebe u tkivo prirode ve\u0107 postaje stvaralac jednog novog entiteta prirode u prostoru umetnosti.<\/p>\n Na po\u010detku ovog umetni\u010dinog prodora nalazi se rad \u017dig<\/em>(2012-2013) kao prelazni oblik izme\u0111u slike-objekta i objekta-slike. U segmentu rada koji je uokviruju\u0107iumetnica pravi ureze, pukotine, bu\u0161otine, ispune. Taj \u201enaru\u0161eni\u201c deo jeste metafora \u017eivota oblikovanog iskustvima, iz \u010dijih o\u017eiljaka izrasta memorija[3]<\/a> kao identitetska odrednica \u010doveka. Za razliku od okolnog tkiva, \u201ememorijska plo\u010da\u201c, u sredi\u0161tu objekta, nastaje gra\u0111enjem, a ne razgradnjom \u2013 njena suptilnareljefnost nastaje minucioznim dodavanjem i modelovanjem materije, ba\u0161 kao \u0161to se se\u0107anja umno\u017eavaju i zbijaju u intimnu istoriju \u010doveka. Ona je prolazni doga\u0111aj transformisan u vrednost ili pak traumu, \u017eivljenje preina\u010deno u karakter \u2013 o\u017eiljak pretvoren u \u017eig.<\/p>\n Paralelno sa \u017digom<\/em> i Memorijom<\/em>(2012-2013) Andrea zapo\u010dinje rad na objektu-slici\u010covek je stvaralac<\/em>(2012-2015) sa kojim zakora\u010dujeu drugu fazu svog rada ipunu stvarala\u010dku zrelost. Sama umetnica je definisala svoju energiju tokom stvaranja rada kao natalnu energiju, pa no\u0161en njome celokupan umetni\u010dki proces, a zatim i kona\u010dno delo, jednako na fizi\u010dkom i simboli\u010dkom nivou, upu\u0107uju na sporo klijanje i veli\u010danstveno ra\u0111anje \u017eivota. Umetnica koristi zavoj kao osnovnu gradivnu materiju rada, jer se tanka pamu\u010dna tkanina povezuje sa grani\u010dnim podru\u010djima \u017eivota \u2013 bebe se uvijaju u pamu\u010dne pelene po dolasku na svet, gaza i zavoj su za\u0161titna omotnica na mestima povrede tela, kona\u010dno pojedini posmrtni rituali poput mumificiranja podrazumevaju upotrebu sli\u010dne tkanine. Iscepane na bezbrojne trake, kva\u0161ene i gu\u017evane, umetnica tanke zavoje nejednako i nepravilno uvija i sla\u017ee sporo i slojevito.Iz tog dugog procesa izrasta masa koja svojom strukturom deluje kao da se kre\u0107e iznutra, te da je to dinami\u010dno unutra\u0161nje zbivanje pomera nalik velikom talasu ka i od ovalne forme u samom sredi\u0161tu rada. To ovalno, glatko i svetlo, gotovo isijavaju\u0107e polje, nalazi se u centrukoliko forme toliko i sadr\u017eaja ovog objekta-slike.Iako je Andrein rad od samih po\u010detaka krajnje apstraktan i nenarativan, vizuelne asocijacije ponekad, uz oprez i svest da nisu klju\u010dne za razumevanje, ipak mogu dati po\u010detno usmerenje. Otuda asocijacije na jaje (kao inkubatora \u017eivota) ili na doga\u0111aj oplodnje jajne \u0107elije na mikroskopskom nivou ili pak na zigot utonuo u meko i sigurno tkivo materice gde nastavlja svoj razvoj u embrion \u2013 sve su to asocijativna polazi\u0161ta koja nisu bila po\u010detna ideja same umetnice, ali koja vezano\u0161\u0107u za ideju stvaranja i ra\u0111anja \u017eivota postavljaju posmatra\u010da u pravilnu poziciju spram ovog rada. Izvesnu pomo\u0107 u odgonetanju mogu nam pru\u017eiti pojedina saznanja o umetni\u010dinom postupku rada. Najpre delo se od samog po\u010detka gradi i razvija oko sredi\u0161njeg ovalnog polja, koje dakle ne nastaje kao praznina koju materija oblikuje svojom koncentracijom, ve\u0107 naprotiv od kojeg i oko kojeg se materija nagomilava i raste. U samom za\u010detku rada, podloga (tako\u0111e napravljena od materije) koja je u ravni sa centralnim poljem i okru\u017euje ga ima crnu, gotovo ugljenisanuboju. Kroz vreme, umetnica je parcijalno i slojevito prekrivasvetlom trakastom masom od koje oblikuje reljef nalik rastu\u0107em i pulsiraju\u0107em organu. Dakle, kroz sam rad, Andrea prolazi etape koje nisu samo mehani\u010dke i proceduralno uslovljene ve\u0107 jednako simboli\u010dke. Pokreta\u010d transformacije crne ravne podloge kao nematerije u slo\u017eeni \u017eili\u010dasti sistem svetle i \u017eive materije, odnosno transformacije tame u svetlost, predstavlja to sredi\u0161te koje nastaje prvo i ostaje nepromenjeno do kraja. U procesu svog nastanka objekat-slika \u010covek je stvaralac<\/em>simulira udahnjivanje \u017eivota u materiju\u2013 metafizi\u010dki doga\u0111aj koji na makrokosmi\u010dkom nivou predstavlja stvaranje sveta i prirode, ali i \u010doveka kao njenog neodvojivog dela (otuda su prethodno pomenute asocijacije opravdane). Na mikrokosmi\u010dkom nivou, na koji referi\u0161e i naslov rada, sam \u010dovek preuzima kormilarsku ulogu u ovom ontolo\u0161komzbivanju koje se u umetni\u010dinom slu\u010daju ostvaruje u polju jednako umetnosti i roditeljstva.<\/p>\n ***<\/p>\n Iako po prirodi umetni\u010dkog procesa i kona\u010dnog rada ciklus \u010covek je priroda<\/em> predstavlja novi korak, dalji razvoj i sazrevanje u stvarala\u0161tvu Andree Ivanovi\u0107 Jak\u0161i\u0107, on je me\u0111utim, na konceptualnom nivou izvan ovako linearne percepcije umetni\u010dinog razvoja. Zajedno sa ostatkom njenog opusa on pripada jedinstvenom korpusu ideja koje su kao \u017eivotna filozofija ustalnoj umre\u017eavaju\u0107oj i pro\u017eimaju\u0107oj cirkulaciji. Naslovi Andreinih radova i ciklusa neposredno svedo\u010de o dubokoj ukorenjenosti njene umetnosti u traganju za odgovorima na ve\u010dna pitanja o postojanju, o prirodi \u010doveka i sveukupnog \u017eivota kome pripadamo. Nazivi radova su ravnopravni segment umetni\u010dinog autorstva \u2013 nikada nisu birani naknadno niti nasumi\u010dno, ve\u0107 se kristali\u0161u tokom procesa rada i dobijaju krajnji izraz zajedno sa delom. Po ugledu na filozofe kojima je njen pogled na svet najbli\u017ei \u2013 pre svih Heraklita i Lao Cea, ali i Ni\u010dea kao i pesnika Vita Markovi\u0107a \u2013Andrea svojim radovima daje naslove kratkih formi nalik poetskim komentarima jezgrovitog i slojevitog smisla.Za pojedine radove iz svojih ranih serija objekata Um-san-smrt<\/em>(2005)i Biti \u010dovek<\/em> (2006-2007)[4]<\/a>umetnicaje vezala konkretne citate iz Heraklitovih Fragmenata<\/em>[5]<\/a> \u0161to je, ispostavi\u0107e se u kasnijem radu, bio pouzdan putokaz ka filozofskom diskursu kome pripada njena misao. Radi se prevashodno o heraklitovskim ontolo\u0161kim i kosmolo\u0161kim postavkama, me\u0111u kojima je za Andrein rad od posebne va\u017enosti ideja o promeni kao zakonitosti postojanja, shva\u0107enoj istovremeno kao smena i preobra\u017eaj. Neodvojivo od nje jeste na\u010delo da se \u201eharmonija sveta sastoji iz suprotnih te\u017enji\u201c[6]<\/a> na \u010dijem se odnosu \u2013 sukobu, saglasju i smeni \u2013 temelji sam \u017eivot.<\/p>\n Vratnice kontemplativnog odnosa prema stvarnosti u Andreinom \u017eivotu \u0161irom je otvorila prva velika prekretnica u njenom sazrevanju \u2013 nagli i trajni prekid veze sa mestom ro\u0111enja i odrastanja. Andreina porodica na\u0161la se me\u0111u izbeglicama iz Hrvatske u Jugoslovenskom gra\u0111anskom ratu, a zajedno sa njima jedanaestogodi\u0161nja<\/u> devoj\u010dica zauvek je napustila fizi\u010dko i socijalno okru\u017eenje kojim je modelovana njena li\u010dnost u razvoju. Bilo je to, kako ga je umetnica okarakterisala, prvo \u201eizmicanje tla pod nogama\u201c \u2013 prvo suo\u010davanje sa nestabilno\u0161\u0107u stvarnosti i promenom kao \u017eivotnom istinom. Kasnije, kroz njeno stvarala\u0161tvo, ispostavi\u0107e se da uticaj na njenu svest nije u tolikoj meri imalo brisanja celokupnog konteksta dotada\u0161nje li\u010dne istorije, ve\u0107 pre spoznaja da i (drasti\u010dnom) promenom \u017eivotnog konteksta njeno postojanje i identitet traju. Ovo svojevrsno otkrovenje utemeljeno u ranom \u017eivotnom iskustvu vremenom \u0107e je pribli\u017eiti Heraklitovoj filozofiji, posebno njegovoj teoriji o promeni kao jedinoj zakonitosti prirode. Od \u017eivotnih okolnosti koje su usledile, poput nove egzistencijalne nestabilnosti po zavr\u0161etku studija slikarstva, do globalnih poljuljavanja modela stvarnosti u novim nau\u010dnim otkri\u0107ima \u2013 sve je u Andreinoj svesti vodilo oja\u010davanju heraklitovskih teza kao \u017eivotne filozofije. Shvatanje po kome se sve menja, a samo je promena ne\u0161to postojano za Andreu nije destabili\u0161u\u0107i odnos prema stvarnosti, ve\u0107 naprotiv – novi oslonac i sigurnost. Ovaj aspekt svog poimanja stvarnosti Andrea izvodi u prvi plan kroz naslove dva najnovija objekta-slike: Dan na zemlji \u2013 bestemeljno tlo \u2013 preobra\u017eaj stvarnosti<\/em>(2019-2020) i No\u0107 na zemlji \u2013 bestemeljno tlo \u2013 preobra\u017eaj stvarnosti<\/em>(2020). Tlo kao slo\u017eena alegorija \u010dovekovih sveukupnih saznanja jeste nepostojana tvorevina \u2013 samo privid stabilnosti na koju oslanjamo jednako varljivu samospoznaju. Nestabilnost je za Andreu pozitivna kategorija jer je pokazatelj neminovnosti promene \u2013 preobra\u017eaja kao nove mogu\u0107nosti kojase otvara \u010dim se, nalik opseni, izmakne tlo pod nogama. Andrein do\u017eivljaj bestemeljnost stoga nije gubitak tla ve\u0107 granica, nije padanje ve\u0107 lebdenje, nije ponor ve\u0107 beskraj.<\/p>\n Promena kao vitalan i \u017eivotvorni princip, prisutna je u svakom segmentu Andreine umetnosti. Proces nastanka jednog dela temelji se na nizovima transformacija materije, u kojima se prepoznaje gotovo heraklitovska smena elemenata: \u201esmrt zemlje rodi vodu\u201c (\u010dvrsti materijali poput kartona i papira kvase se i razgra\u0111uju natapanjem vodom \u010dime se dobijamokra i nestabilnagradivna masa), \u201esmrt vode rodi vazduh\u201c (u dugom procesu su\u0161enja na toplom vazduhu masa se stvrdnjava u stabilnu formu) i \u201esmrt vazduha rodi vatru\u201c[7]<\/a> (\u017eivi plamen gutaju\u0107i kiseonik raspaljuje, pr\u017ei i sagoreva novonastalu o\u010dvrslu tvar). Sa anti\u010dkim filozofom umetnica deli izra\u017eenu naklonost prema elementu vatre[8]<\/a>koji je njen nezaobilazni asistent u finalizaciji rada. Vatrusa jedne strane upotrebljava kao kontrolisani plamen koji ostavlja jasan linearni trag (Sagorevanje<\/em>, Vra\u010d<\/em>), dok sa druge strane, u radovima poput ve\u0107ine iz ciklusa \u010covek je priroda<\/em>,plamenu prepu\u0161ta celokupno telo objekta i vatra je ta koja daje jednu od poslednjih identitetskih osobenosti kona\u010dnom radu. Tako je primena plamena (razli\u010dite ja\u010dine, trajanja, na materiji razli\u010ditog kvaliteta i sastava) zaslu\u017ena \u010dak i za najrazli\u010ditije nijanse Andreinih radova – \u201eboje vatre\u201c, kako ih sama umetnica naziva \u2013 od ugljenisano crne, preko tamnih nijansi ljubi\u010daste, zelene, plave, do zemljanih tonova braon, crvene, narand\u017easte i oker. Ve\u0107 je re\u010deno da je jedan od klju\u010dnih preobra\u017eaja u Andreinoj umetnosti onaj u kome unutra\u0161nji sadr\u017eaj, bilo misao, emocija, stanje svesti, menja materiju iz prirode i tu prirodnu tvar preobra\u017eava u najvi\u0161i oblik ljudske kreacije. Isti preobra\u017eaj ima i suprotan smer na kome se umetnost koju stvara \u010dovek vra\u0107a u prostor prirode. Ova dvosmernatransformacija jeste Andrein na\u010din da istovremenim delovanjem u obe sfere, njeno stvarala\u0161tvo bude prostor njihovog preklapanja i poistove\u0107ivanja umetnosti i \u017eivot.<\/p>\n U tom preklapanju va\u017ena spojnica je odnos suprotnosti u kome le\u017ei ve\u010dnost promene – \u017eivota i smrti, ra\u0111anja i umiranja, svetlosti i tame, duha i materije. Dva objekta-slike \u010covek je lavirint-tama-svetlost<\/em>(2014-2015) i \u010covek je vezan<\/em>(2014-2015) ukazuju upravo na ve\u010dito smenjuju\u0107u dvojnu prirodu \u010doveka. Sa jedne strane stoji njegov beskona\u010dni umni i duhovni potencijal, zamr\u0161en, misti\u010dan i dubok, koji je jedini na svetu u stanju da dotakne tajne univerzuma. Andrein lavirint nedvosmisleno komunicira Heraklitovim fragmentom: \u201eDu\u0161i granica ne\u0107e\u0161 na\u0107i, pa da svim putevima pro\u0111e\u0161: tako je duboko (skrivena) njena mera.\u201c[9]<\/a> Istovremeno \u010dovek je,znatno \u010de\u0161\u0107e, ograni\u010den predrasudama, konvencijama i neznanjem, uspavan je i povr\u0161an, nalik Andreinom objektu \u2013 vezan je i jednosmeran.Dvojno\u0161\u0107u \u010dovekovog postojanja umetnica se bavi i u ciklusu radova na papiru naslovljenomSve vidljivo po\u010diva na nevidljivom<\/em>(2017-2020). Vra\u0107aju\u0107i se u meditativno stanje nalik onome karakteristi\u010dnom za ranije slike\u2013objekte Voli svoju sudbinu<\/em>(o \u010demu svedo\u010di sli\u010dan postupak bu\u0161enja podloge, ali i naslov dva rada:Gledam se kako postojim<\/em>), umetnica traga za propusnom granicom na kojoj, nalik izbu\u0161enoj podlozi kroz koju probija svetlost, ljudsku svest zapljuskuje podsvest, a ljudski racio intuicija. San je jedna od tih poroznih i nestabilnih pregrada na kojoj \u010dovek doti\u010de nevidljivu i neistra\u017eenu divljinu svog bi\u0107a (Divljina<\/em>), u kojoj ne va\u017ee dimenzije fizi\u010dkog prostora (Lebdenje<\/em>, \u0160ta je ispod \u2013 \u0160ta je iznad<\/em>[10]<\/a>), u kojoj se postavke razuma razbijaju nalik fatamorgani (Fatamorgana<\/em>), uspon izjedna\u010dava sa zaronom (Veliki uspon \u2013 no\u0107<\/em>), a senka razotkrivavi\u0161e nego svetlost (Zaron-daleki predeli<\/em>).Kao na granici sna (Na granici sanjanja<\/em>), apstraktne geometrijske forme koje se pomaljaju na ovim radovima me\u0111usobno se zamagljuju, pro\u017eimaju i gube u rupi\u010dastom tkanju. Pomenimo i na ovom mestu Heraklita, koji je me\u0111u ljudima razlikovao budne i uspavane, one koji te\u017ee razumevanjuzakona prirode i tragaju za ve\u010dnim istinama, odnosno one koji \u017eive svakodnevicu bez promi\u0161ljanja o svom postojanju. Svako pitanje o sebi kao delu prirode jeste budilnik, iskorak iz snovi\u0111enja u svesnost. Kroz umetni\u010dko stvaranje Andrea pronalazi puteve iz jedne u drugu sferu ljudskog uma, daruju\u0107i nam ih sa\u010duvane u svojim radovima, sa naslovima kao putokazima za sigurnije kora\u010danje.<\/p>\n Posebno mesto u Andreinom kontemplativnom ali i empirijskom odnosu prema stvarnosti zauzima promisao o jedinstvu svega u pojavnom svetu. Ova op\u0161ta metafizi\u010dka postavka koja je u razli\u010ditim varijacijama prisutna u filozofijama i religijama sveta, na\u0161la se u konceptualnom sredi\u0161tu Andreinog ciklusa \u010covek je priroda<\/em>. Proizilaze\u0107i, pripadaju\u0107i i vra\u0107aju\u0107i se jednom zajedni\u010dkom metafizi\u010dkom izvoru, bilo da se on kompleksno defini\u0161e kao Logos, Tao ili Bog, \u010ditav svet odnosno priroda jeste Jedno bez obzira na beskona\u010dne pojavne razli\u010ditosti koje postoje unutar nje.\u201eOduvek sam ose\u0107ala naklonost prema materiji, pre svega\u00a0 bliskost sa materijom iz prirode. \u017delela sam da stvorim delo koje bi bilo pravi odraz mene, a to zna\u010di mene kao neodvojivog dela prirode.\u201c[11]<\/a>Ovakav do\u017eivljaj pripadanja prirodi umetnica je osvestilai prepoznalau filozofiji o Jednom koje pro\u017eima sve.\u010covek ne samo da je deo prirode, ve\u0107 je njen ekvivalent, pa je tako i svaka njegova tvorevina samo nova razlika u tom jedinstvu. Me\u0111u bezbrojnim razlikama,umetni\u010dka dela poput Andreinih nalikuju filozofskim prodorima \u2013unutar mno\u0161tva osvetljavaju Jedno. Kona\u010dno, celokupnoAndreino stvarala\u0161tvo, koga je tek fragmentarnodotakao ovaj tekst, predstavlja refleksiju \u201ena\u010dela jedinstva u mno\u0161tvu i razlike u jedinstvu.\u201c[12]<\/a>Svi njeni radovi, samostalni, samosvojni i me\u0111usobno razli\u010diti, istovremeno su, konceptualno i rukopisno,pripadaju\u0107i Jednomkoherentnom opusu i Jednoj autenti\u010dnoj stvarala\u010dkoj poetici.<\/p>\n [1]<\/a>Gledam se kako postojim<\/em> je naslov dva rada na papiru iz 2017. i 2018. godine o kojima \u0107e biti re\u010di u nastavku teksta.<\/p>\n [2]<\/a>Izjava umetnice data u privatnom razgovoru sa autorkom teksta (Beograd, 16. avgust 2020)<\/p>\n [3]<\/a>Sredi\u0161nji segment ovog rada umetnica istovremeno uzima kao predlo\u017eak za nastanak samostalnog objekta-slike naslovljenog Memorija<\/em> (2012-2013).<\/p>\n [4]<\/a> U pitanju su ciklusi umetni\u010dkih objekata u kojima umetnica kombinuje manipulaciju prirodnim materijalima i redimejd predmetima, a koji ne ulaze u razmatranje umetni\u010dinog rada u okviru ove studije i izlo\u017ebe.<\/p>\n [5]<\/a> U objektu Spava\u010d<\/em> (ciklus Um-san-smrt<\/em>, 2005) ispisan je fragment: \u201eNo\u0107u kad mu se ugasi o\u010dinji vid, \u010dovek ipak dodiruje svetlost. Iako \u017eiv, dodiruje on u snu mrtvaca, budan \u2013 dodiruje spava\u010da\u201c (Heraklit, 26, Fragmenti<\/em>, preveo Miroslav Markovi\u0107 u: Pevanje i mi\u0161ljenje. Heraklit, Helderlin, Ni\u010de, Hajdeger<\/em>, priredio Igor Markovi\u0107, Moderna, Beograd 1990, 17). Za objekat Biti \u010dovek <\/em>umetnica vezuje citat: \u201eLjudski \u017eivot (vek) \u2013 to je dete koje se igra, kami\u010dke na tabli tamo-amo reda: de\u010dje carstvo!\u201c (Heraklit, 52, Fragmenti<\/em>, preveo Miroslav Markovi\u0107 u: Isto, 28)<\/p>\n [6]<\/a> Heraklit, Fragmenti<\/em>, preveo dr Marko Vi\u0161i\u0107, u: Isto, 75.<\/p>\n [7]<\/a>Heraklit, 76, Fragmenti<\/em>, preveo Miroslav Markovi\u0107 u: Isto, 21.<\/p>\n [8]<\/a>Ovde je u pitanju prirodni element za razliku od Heraklitovog kosmolo\u0161kog pojma vatre kao ve\u010dnog ognja obdarenog razumom koji upravlja svime u vasioni.<\/p>\n [9]<\/a>Heraklit, 45, Fragmenti<\/em>, preveo Miroslav Markovi\u0107 u: Isto, 22.<\/p>\n [10]<\/a>Nadovezuju\u0107i se na ciklus radova na papiru Sve vidljivo po\u010diva na nevidljivom<\/em> umetnica iste idejne premise razvija u objektu-slici U svim pravcima \u2013 ono \u0161to sanja \u2013 ono \u010demu se nada<\/em> (2018-2019).<\/p>\n [11]<\/a> Izjava umetnice data u privatnom razgovoru sa autorkom teksta (Beograd, 16. avgust 2020)<\/p>\n [12]<\/a>Dr Marko Vi\u0161i\u0107 u:\u00a0 Heraklit, O prirodi<\/em>, Oktoih, Podgorica 2001, 53.<\/p>\n Oktobar 2020.<\/p>\n Galerija RIMA<\/p>\n Nevena Martinovi\u0107<\/strong><\/p>\n TRANSFORMATIONS OF NATURE (AND) ART<\/strong><\/p>\n ABOUT THE CREATIVE PROCESSES OF ANDREA IVANOVI\u0106 JAK\u0160I\u0106<\/strong><\/p>\n Warm air, warmed by the stove permanently burning, heats the space of the artist\u2019s studio. Lying down or standing upwards, just begun or almost born, massive objects swollen with the matter, are seemingly tranquil in their refuge or succumb to the slow action of the elements of air. There, in the studio of Andrea Ivanovi\u0107Jak\u0161i\u0107, snug in an alley of a small town, the enigma of creation is happening \u2013 a natural process becomes alchemy. The air is sucking out the dampness from the piled up prepared matter thus simultaneously producing art. Since it is in charge of their lasting quality, as soon as it has dried them and made them stiff, the air surrenders Andrea\u2019s unusual abstract reliefs to the subsequent phases of fashioning. The artist spends whole weeks and months working on one of her object-paintings. During that long and physically very demandingprocess she establishes a relationship to nature as a living entity to which she also belongs. This relationship breeds an artistic confidence in nature as collaborator \u2013 patience with the air working slowly and also the highest possible respect and care for the fire that brings the most profound transformations in her work. From the earliest steps in art Andrea has been relying on an instinctive and contemplative link with nature and her creative personality finds manifestation only in the dynamic symbiotic relationship with natural matter. In the warm air of her studio, bent over a semi-dried object, she feels that the creation is equally artistic and organic;that it had been equally shaped both by her ideas and her gestures, as much as by the (in)visible natural forces that operate on the hidden molecular level.<\/p>\n *<\/p>\n At the beginning of her postgraduate studies already, the young artist decided to channel her creative energy not by the existing painterly vehicles, but she began to look beyond the borders of traditional artistic disciplines and their media. In her search for the true method to objectify her vision, Andrea found her own matter, technology and procedure, playing spontaneously and freely in the space that separates and connects the painting\/drawing and the sculpture\/relief. Those were the conditions for the creation of her works on paper that discarded the basic postulates of the drawing \u2013 where not only nothing had been drawn, but there were no traces of a draughtsman\u2019s process or tools. Even the concept of \u201cworks on paper\u201d is fully conditional since paper is only the departure point in the creation of a different support. In certain groups of works from the cycles of Between Hope and Hopelessness<\/em> (2004-2005) and Hammered Philosophy<\/em> (2005-2006) Andrea\u2019s foundation was not the drawing paper but the moistened and semi-decomposed paper with which she would create, in layers specifically dried up, the support not particularly thick but exceptionally firm. Such base, but also others, much more fragile, become the carriers of emphasised physical actions produced with non-painterly means \u2013 by hammering (Hammered Philosophy<\/em>),by piercing and scratching (Sacrifice<\/em>, Rebel<\/em>), by burning and combustion (Combustion<\/em>). In the years that followed, in her cycle Perfecting the Skill of Existence<\/em> (2008-2010) the artist improved her creative process with the application of similar technologies and procedures on big canvases, producing hybrid paintings-objects. Their skeleton was made up of the skeleton frame and the position from which they communicate with the artist and the public is frontal just as with any other painting. However, by the specific quality of their genesis (use of non-painterly materials and procedures), by the accentuated structure of the matter and the suggested third dimension (thickness of 6 to 10 cm) these works leave the discourse of painting and impose their objectness.<\/p>\n The cycles of works on paper such as Hammered Philosophy<\/em> and paintings-objects such as Perfecting the Skill of Existence<\/em> belong to a common phase, and one could also say the first phase of Andrea\u2019s work where one can easily recognise two dominant creative processes. One of them is the process of creation: an artwork is the result of artistic performance. The idea or the state as the content of the work is objectified with artist\u2019s action. The other principle refers to the work as an artistic object \u2013 it is not only the result of performance but has been predestined to be a trace of a concept and artistic experience. The group of works on paper Hammered Philosophy<\/em> and the group of paintings-objects collectively titled Love Your Destiny<\/em> (each of the three works includes a distinctive idea: \u201cBreath\u201d, \u201cBlood Circulation\u201d and \u201cCosmos\u201d) were created by the action capturing all of Andrea\u2019s concentration, the basic form in which the artist reveals the state she is in. Repetitive forceful blows with a hammer on the paper (Hammered Philosophy<\/em>) or tranquil and concentrated piercingsthat break through the fibre of the support (Love your Destiny<\/em>) \u2013these gestures represent the basic expressions of Andrea\u2019s existential moment. The leading role of that action (non-aesthetic and non-painterly in character) is to introduce the performative dimension in Andrea\u2019s art. She personally does not hide her inclination towards performance, from Joseph Beuys to Marina Abramovi\u0107, because it equates art and life.Hammered Philosophy<\/em> is an imprint of raw life energy, manifested unbearably and unrestrainedly in the blows. Instead of looking for verbal and visual forms that close her up into abstract semantic frames, Andrea wants her personal contemplative nature to leave a physical trace and bring about real change in her existence. She wants the idea to make the blow; the hole and the scratching to leave a real trace in the sensitive space, and not just a metaphor. She wants those philosophic principles to come down from the theoretic cloud and begin to live irrevocably. Paper placed on concrete support which the artist hits with her blows is the test tape that records her concentrated rebellious energy;with its cuts, scratchings and holes, the action writes the ultimatum of existence. The painting-object Love Your Destiny – Breath <\/em>(although the two other works from the same group can also be quoted as examples) is very similar to previous works visually (the support pierced with little wholes over the entire surface) and also conceptually: the creative procedure is processed as action experienced as sensation. Nevertheless, this work carries a totally opposite energy \u2013 stable, channelled and enlightened. The artist slowly, and in sessions, pierces holes in the support. The repetition of the same procedure where her entire concentration is gathered into several simple gestures introduces the state of meditation, the awareness of one\u2019s own breathing (Breath<\/em>) and heart beats (Blood Circulation<\/em>) \u2013 her own presence(Cosmos<\/em>) this process transforms the work of art into a meditative refuge, a space of self-revelation, just as Marina Abramovi\u0107 achieves the same with her performance Counting the Rice<\/em>. The works Love Your Destiny<\/em> indicate transposition from the extrovert, brutal and rebellious energy, a metaphor for the principle of action, effect and movement (in Hammered Philosophy<\/em>) \u2013 into a slowed down state of non-action where one simply \u201cobserves oneself existing\u201d[1]<\/a>. The title of the entire cycle Perfecting the Skill of Existence <\/em>indicates the loss of man\u2019s touch with selfhood. In the whirlpool of permanent operation, between the automatic everyday activities and the conscious fulfilment of planned ambitions, between the imperative of continuous movement through time and space, but also of all-encompassing virtual life \u2013 man\u2019s awareness of personal existence and presence is delayed, frequently and unfortunately also cancelled. In Andrea\u2019s case, art is a meditative process \u2013 it is the skill the artist applies to cease, to abandon the cloak of time-speed-engagement and remain denuded in front of herself. Sometimes it seems that the complex creative procedure is subconsciously initiated by Andrea\u2019s deep need to last, for a long and slow process that gives her enough timeand reason to leave the everyday and sink again into her own self. Therefore, the three works Love Your Destiny<\/em> are in fact visual manifests of the meditative role of art in Andrea\u2019s creative activity.<\/p>\n The process of creating an artwork, as we have seen, is primarily an experience and only consequently a realisation. Still, in her works on paper such as the Sacrifice<\/em> (2005), Rebel<\/em> (2005-2006) or Combustion<\/em> (2005-2006) and particularly in the paintings-objects such as Simulacrum<\/em> (2008-2010) and Shaman<\/em> (2008-2010) that process is profoundly linked tothe artist\u2019s handling of natural materials. Andrea uses the matter as the fibre in which she can leave a trace and experience of action \u2013 she realises an artwork as the imprint of her idea in natural matter. In the complex application of natural materials (wood, paper, cotton), elements of nature (water, fire and air) and natural processes (moistening, drying, combustion, decomposition) there is a difference between the making of the base and its \u201cdisintegration\u201d. The relationship between the base and the trace, characteristic of the classical medium of painting, is essentially changed because the trance is not felt, but imprinted on the surface of the support, thus becoming the cause of its internal structural transformation. Made from natural material, the support behaves like a living matter and not only does it reveal its resistance but also its reaction to Andrea\u2019s gestures \u2013 blows, piercing, cutting, combustion. In the end, there is a work of art as a specific scar fibre. The scar, the word the artist uses gladly, is not understood as a consequence of a painful experience, only as her seemingly aggressive gestures and are not preconceived injuries. It is the objectness of the artist\u2019s thinking about existence and her procedure with which she re-invents life itself. Good examples are works on paper entitled Sacrifice<\/em> and in its wake Andrea made the painting-objectShaman<\/em>. The essence of these works, with brutally scratched support in various directions, contains Andrea\u2019s thinking about the phenomenon of sacrifice as an aspect of the most profound transformation in man\u2019s life. The visual instigator of this contemplative preoccupation was a much used kitchen cutting board which had changed its form and colour because of numerous cuttings, blows, animal and plant juices it was soaked in for years. Meat was butchered on that old piece of wood, family meals and feasts were prepared on it and always linked in pagan religions withthe ritual sacrifice of animals or vegetables. A sacrifice always assumes suffering as a guarantee for the transformation of bad into good, of a difficult state into good fortune, loss into gain, error into redemption. In religion \u2013 sacrifice is the belief in practice and finally it leads to the highest form of transformation \u2013 into life after death. The sacrifice of God-the Son by God-the Father, the sacrifice Christ suffered is the central event in Christian history \u2013 bringing redemption and eternal life to the entire humankind. However, the sacrifice in Andrea\u2019s perspective is equal to the one in the life of any ordinary man \u2013 a continuous deduction of a lesser or greater part of selfhood in order to bring betterment to others. Mechanical scratchings in the support of Sacrifice<\/em> or the one created by controlled burning of the matter in Shaman<\/em> are places where deconstruction if transformed into creation, where the base is transformed into a work of art. The sacrifice of stability, harmony or wholeness is the path towards maturing, and the scar made in the process of that self-destruction is the place where identity is born \u2013 either as an authentic part of art or of human personality.<\/p>\n A new phase in the creative process of Andrea Ivanovi\u0107Jak\u0161i\u0107 begins with the cycle of works Man is Nature<\/em> which comprises the most recent ones from 2019 and 2020. Andrea produced her paintings-objects from the previous cycle by inscribing her gesture and action into the base. In those works the base is always in the position of a natural entity that suffers and where transformation happens deep in the structure, in the fibre itself, but remains perceived as a surface, like skin or the bark of a tree. Andrea changes the fibre of nature with her action and, as we have already seen, it has an important role for the artist as a process of self-expression and self-cognition. In the group of works created since 2012 the artist leaves her dominant position with reference to the support and establishes an equal relationship with the matter. In consequence \u2013 what used to be a sporadically levelled flat surface and behaved like a layer of natural fibre becomes a deep relief and behaves as an organ or the body. For that reason, it is much more appropriate to use the term object-painting for Andrea\u2019s works from the still present second big phase. The internal support is the stretched canvas, the work is again perceived from the frontal position (although the play of light and shadow in deep relief requires the viewer to move closer, to the very edges). Nevertheless, even if it is no longer a free-standing object, the artist models it in the matter and squeezes out into space, in front of the invisible skeleton of the skeleton frame and beyond its lateral edges, creating irregular and fluid borderlines between the work and the space. In that way the impression of objectness of the work \u2013 its relief structure, expressive mass, its saturation with the matter \u2013 becomes the main element in the definition of nature in the cycle of works Man is Nature<\/em>. Handling the large quantity of natural mixture she prepares herself, then deposits, shapes, dries, moistens again, re-models and dries again slowly and for a long time, lights it up under full control, burns it, then whets it \u2013 Andrea thus establishes a relationship with nature much like a sparing partner. Like a living matter under the influence of living processes the natural matter is unforeseeableand the artist\u2019s manipulations of that matter turn into alternating confrontations and harmonisations. \u201cI have the impression that I am in conflict with an expressive animal energy. As if I were fighting with a strong animal in the matter, or within myself\u201d[2]<\/a> \u2013 the artist described her everyday experience in working on the latest object-painting, which she has titledSurvival<\/em> (2019-2020). At the end of a patient but intensive struggle of mutual snatching and ceding, the artist creates a work is created by which the artist is not trying to inscribe herself into the fibre of nature but becomes the creator of a new entity of nature within the space of art.<\/p>\n At the beginning of this artistic influx there stands the work Stamp<\/em> (2012-2013) as a transitory form between painting object and object-painting. In the framing segment of the work the artist makes cuts, cracks, holes, fillings. That \u201cruined\u201d part is the metaphor of life shaped by experiences[3]<\/a>, and from its scars grows memory as the identity determinant of man. Contrary to the surrounding fibre the \u201cmemory table\u201d in the centre of the object is created by construction and not deconstruction \u2013 its spiral relief grows from minute additions and modelling of the matter, just as memories are multiplied and condensed into an intimate history of a man. It is a transitory event transformed into values or trauma, life transformed into character \u2013 a scar transformed into a mark.<\/p>\n Parallel with the Stamp<\/em> and Memory<\/em> (2012-2013) Andrea began to work on her object-painting Man is Creator<\/em> (22012-2015) with which she entered the second phase of her work and full creative maturity. The artist personally defined her energy during the creative process as natal energy so that the entire artistic procedure and finally the artwork, both physically and symbolically, imply slow germination and the magnificent birth of life. The artist used cotton bandages as her basic creative material because the thin fabric is connected to the liminal spaces of life \u2013 immediately after birth babies are bound in cotton nappies, gauze and bandages are protective layers for wounds, and finally, posthumous rituals of mummifying also use similar fabrics. The artist rolls unevenly and irregularly the thin bandages, torn into numerous strips, moistened and crumpled; she rolls them and deposits them slowly and in layers. This long process breeds a mass whose structure likens inside motion so that the dynamic internal happening is moving it, like a big wave, to and away from the oval shape in the centre of the work. That oval, smooth and bright almost radiating field is both in the centre of the shape and the content of this object-picture. Although Andrea\u2019s works have been from the very beginning extremely abstract and non-narrative, sometimes visual associations indicate initial directions, but prudently and fully aware that they are not crucial for the understanding of the work. Therefore this association to an egg (as an incubator of life) or the impregnation of ovum under the microscope or even a zygote plunged into the soft and safe matter of the uteruswhere it continues its evolution into an embryo. All of those are associative departure points that need not be the artist\u2019s initial concept, but as ideas of creating and bearing life place the viewer in the right position before that work. Certain knowledge of the artist\u2019s work procedure can be helpful in solving the enigma. First of all, from the very beginning the work is created and evolved around the oval field, which is not an empty space formed by the matter and its concentration, but, on the contrary, the place from and around which the matter is accumulated and growing. Also, in the beginning the support (made from the matter) initially level to the central field encircling it, is of black, almost carbonated colour. In time, the artist covers it partially and in layers with the light strip-like mass creating a relief that resembles a growing and pulsating organ. Thus, in the process of working Andrea passes through phases that are not only mechanical and procedurally conditioned but equally symbolic. The initiator of the transformation of the black flat support as non-matter into a more complex sinewy system of light and living matter, in other words, the transformation of darkness into light represents that centre created first and remaining unchanged to the very end. In the process of the creation of this object-painting Man is Creator<\/em> the artist simulates the breathing of life into the matter \u2013 a metaphysical happening which on the level of macro cosmos represents the creation of the world and nature, but also of man as its inseparable part (therefore the previously mentioned associations are justified). On the level of microcosmos to which the title refers, man himself takes over the role of a helmsmanin this ontological happening, which is, in Andrea\u2019s case, realised both in the area of art and parenthood.<\/p>\n *<\/p>\n Although by the nature of the artistic process and final artwork, the cycle Man is Nature<\/em> presents a new step forward, a further development and artistic maturing of Andrea Ivanovi\u0107Jak\u0161i\u0107.On the conceptual level it is beyond such linear perception of an artistic evolution. Together with the rest of her opus it belongs to the unique corps of ideas which are, as life philosophy, in continuous networking and permeating circulation. The titles of Andrea\u2019s works and cycles are direct evidences of a deep rootedness of her art in search for the answers to eternal questions about existence, human nature and the entire life we belong to. They are never chosen subsequently or randomly, they crystalise during the work process and acquire their final expression together with the work. Conforming with the philosophers whose ideas seem to be closest to hers \u2013 first of all Heraclitus and Lao Tzu, but also Nietzsche and the poet Vito Markovi\u0107 \u2013 Andrea gives her works short titles like poetic commentaries of a concise and complex meaning. For some of the works from her earlier series of objects, such as Mind-Dream-Death<\/em> (2005) or To Be Human <\/em>(2006-2007)[4]<\/a> the artist linked concrete quotations from Heraclitus\u2019 Fragments[5]<\/strong><\/a><\/em>, and it was, as proven in her later works, a reliable signpost towards a philosophical discourse to which her ideas belong. It is primarily the issue of Heraclitus\u2019 ontological and cosmological theses, and for Andrea\u2019s work particularly significant is the idea of the change in the legitimacy of existence, understood at the same time as constant flux and transformation. Also inseparable is the principle that \u201charmony of the world is made up of conflicting desires\u201d[6]<\/a> and life itself is based upon the relationship of conflict, concord and change.<\/p>\n The doors of her contemplative relationship to reality were initially opened wide by the first great turning point in her maturation \u2013 the sudden and lasting breach with the place of her birth and the place where she was growing up. Andrea\u2019s family was among the refugees from Croatia in the Yugoslav civil war, and together with them was their eleven-year old girl who had forever abandoned the physical and social environment that modelled her personality during development. That was, as the artist explained, the \u201cfirst feeling of uncertaintyand loss of firm ground\u201d \u2013 her first confrontation with unstable reality and change as the truth of life. Later, in her creative activity, it will become clear that the erasure of the entire context of her previous personal history did not have that much influence on her mind as the knowledge that despite the (drastic) change in the context of her life her existence and identity continued. This specific revelation, from an early time of life, slowly brought her closer to Heraclitus\u2019 philosophy, particularly his theory about change as one of the laws of nature. The new living conditions, from the new existential instability after the end of the studies to the global oscillation of the models of reality in new scientific discoveries \u2013 all of that strengthened in Andrea\u2019s mind Heraclitus\u2019 theses as the philosophy of life. Andrea did not take the understanding that everything was changing and that the change was the only certainty as a destabilising relationship to reality, but on the contrary, as a new stronghold and new certainty. This aspect of her comprehension of reality can be found in the fore front of Andrea\u2019s titles for the two latest object-paintings: A Day on Earth \u2013 Groundless Ground \u2013 Transformation of Reality<\/em> (2019-2020) and A Night on Earth \u2013 Groundless Ground \u2013 Transformation of Reality <\/em>(2020). The ground as a complex allegory of human entire knowledge is an inconstant creation \u2013 only an illusion of stability to which we entrust our equally variable self-cognizance. Instability is a positive category for Andrea because it indicates unavoidable change \u2013 or transformation as a new possibility that opens up as soon as, like an apparition, the feeling of uncertainty appears. Andrea\u2019s experience of groundlessness is not the loss of ground but the loss of boundaries, it is not the fall but drifting, not an abyss but infinity.<\/p>\n Change as a vital principle of life is present in every segment of Andrea\u2019s art. The creation of an artwork is based on series of transformations of the matter in which one almost recognises Heraclitus\u2019 change and replacement of elements: \u201cdeath of earth bears water\u201d (hard materials such as cardboard or paper are moistened and deconstructed by drenching in water in order to obtain a wet and unstable material mass), \u201cdeath of water bears air\u201d(during the long process of drying in hot air the mass is turning in a hard and stable shape) and \u201cdeath of air bears fire\u201d[7]<\/a> (the flame feeding on oxygen inflames the fire, burns and burns out the newly created firm form). The artist has an expressive inclination towards the element of fire in common with the classical philosopher[8]<\/a>; it is her unavoidable assistant in the final phases of creation. She uses fire, on the one hand, as a controlled flame that leaves a clear linear trace (Combustion<\/em>, Shaman<\/em>) while on the other, in the majority of works from the cycle Man is Nature<\/em>, she leaves the entire body of her object to flames and fire is one of the last identity characteristics in the final work. The application of flames (of different strength, duration, on the matter in various qualities and composition) should be merited even for the most varied nuances of Andrea\u2019s works \u2013 \u201ccolours of fire\u201d as she calls them \u2013 from carbonised black, over dark hues of violet, green, blue, to earthly nuances of brown, red, orange and ochre. It has already been mentioned that one of the crucial transformations in Andrea\u2019s art is the one where internal contents, the concept, emotion, state of the mind, change the matter from nature and transform the natural matter into the highest form of human creation. The same transformation has also an opposite direction where the art produced by man returns into the space of nature. By working simultaneously in both spheres, this two-way transformation is Andrea\u2019s way to make her creative activity the space of their overlapping and equation of art and life.<\/p>\n An important link in this overlapping is the relationship of the opposites that contain the infinity of change \u2013 of life or death, of birth or dying, of light or darkness, of spirit or the matter. Two object-paintings Man is a Labyrinth-Darkness-Light<\/em> (2014-2015) and Man is Bound<\/em> (2014-2015) indicate clearly the infinitely changeable dual nature of man. On the one hand there is his infinite intellectual and spiritual potential, complex, mystical and profound, the only one in the world able to touch the mysteries of the universe. Andrea\u2019s labyrinth unambiguously communicates with Heraclitus\u2019 fragment: \u201cYou will never find limits to the soul, even if you cover all the paths; its measure if so deeply (hidden).\u201d[9]<\/a> At the same time, man is more often limited with prejudices, conventions and lack of knowledge, dreamy and superficial, just like Andrea\u2019s object \u2013 he is bound and straightforward. The artist treats the duality of man\u2019s existence in the cycle of her works on paper entitledEverything Visible is Based on the Invisible<\/em> (2017-2020). By returning to the meditative state similar to the one characteristic of her former paintings-objects Love Your Destiny<\/em> (as evidenced by the similar procedure of piercing the support, but also the title of two other works: I Observe Myself Existing<\/em>); the artist is in search of a porose boundary where, as in her pierced support,light is seeping through the holes, human consciousness is washed by the waves of the unconscious, and human ratio is intuition. Sleep is one of those porose and unstable partitions where man can touch the invisible and unresearched wilderness of his being (Wilderness<\/em>) where the dimensions of physical space are not valid (Levitation<\/em>, What isunderneath<\/em> \u2013 \u00a0What is above?[10]<\/strong><\/a><\/em>) where the premises of reason are broken like a mirage (Mirage<\/em>), ascent is identified with plunge (Big Ascent \u2013 Night<\/em>) and shadow reveals more than light does (Plunge \u2013 Distant Regions<\/em>). As if standing on the borderline of sleep (On the Borderline of Dreaming<\/em>) abstract geometric forms appear in these works are mutually nebulous, imbued and lost in the punctured weaving. We should mention Heraclitus here because he was the one who noticed the difference between awake people and people dreamy, those who want to understand the laws of nature and are in constant search for eternal truths, and those who live through their everyday without ever thinking about their existence. Every question about oneself as a work of nature is an alarm clock, anexit from the dream into consciousness. In her artistic creations Andrea finds ways leading from one sphere of human mind into the other and presents them to us contained in her works, with titles as signposts for more assured crossings.<\/p>\n A specific place in Andrea\u2019s contemplative and empirical relationship towards reality is taken by her idea about the unity of the visible world. This general metaphysical premise, present in the philosophies and religions around the globe, is in the conceptual centre of Andrea\u2019s cycle Man is Nature<\/em>. The whole world or nature is One regardless of infinite visible differences that exist within, because it stems from, belongs to and returns to one common metaphysical source, may it be complexly defined as Logos, Tao or God. \u201cI have always felt an inclination to the matter, first of all a closeness to the matter from nature. I have always wanted to create a work that would be the real reflection of me, of me as an inseparable part of nature.\u201d[11]<\/a>Such an experience of belongingness to nature was recognised by the artist in the philosophy of One (or Unity) which imbues everything. Not only is man a part of nature, but he is its equivalent, so that everything produced by him\/her is only a new difference in that unity. Among the numerous differences, artworks such as Andrea\u2019s, resemble philosophical infusions enlightening One within the many. And finally, the overall creation of Andrea Jak\u0161i\u0107, touched by this text only in fragments, is a reflection of \u201cthe principle of unity within the multitude and differences in unity.\u201d[12]<\/a>All of her works, independent, unique but also different, both in concept and signature belong to the One coherent opus and One authentic creative poetics.<\/p>\n [1]<\/a>I Observe Myself Existing<\/em> is the title of two works on paper from 1017 and 2018 which will be analysed later on in the text.<\/p>\n [2]<\/a>The statement of the artist made in a private conversation with the author of this text (Belgrade, 16 August 2020).<\/p>\n [3]<\/a>The central segment of this work is the model for the next individual object-painting entitles Memory<\/em> (2012-2013).<\/p>\n [4]<\/a>Those are cycles of art objects where the artist combined manipulation of natural materials and ready-made objects, and which are not analysed in this study of her works or the exhibition.<\/p>\n [5]<\/a>The following fragment is inscribed in the object Sleeper<\/em> (the cycle Mind-Dream-Death<\/em>, 2005): \u201eAt night, when his sight has been turned out, man can still touch the light. Although alive, he touches a deadman in his sleep, when awake \u2013 he touches the sleeper\u201c (Heraclitus, 26, Fragments<\/em>, translated by Miroslav Markovi\u0107 in Pevanje i mi\u0161ljenje, Heraklit, Helderlin, Ni\u010de, Hajdeger, ed. b<\/em>y Igor Markovi\u0107, Moderna, Belgrade 1990, 17). For her object To Be Human the artist relates the following quotation: \u201eHuman life \u2013 it is a child playing, arranging pebbles on the board: children\u2019s realm!<\/em>\u201c (Heraclitus, 52, Fragments<\/em>, translated by Miroslav Markovi\u0107 in: the same as above, 28)-<\/p>\n [6]<\/a>Heraclitus, Fragments<\/em>, translated by Marko Vi\u0161i\u0107 in: the same as above, 75.<\/p>\n [7]<\/a>Heraclitus, 76, Fragments<\/em>, translated by Miroslav Markovi\u0107 in: the same as reference 5, 21.<\/p>\n [8]<\/a>Herewith it is the natural element and not Heraclitus\u2019 cosmological concept of fire as infinite flames endowed with reason that rules everything in the universe.<\/p>\n [9]<\/a>Heraclitus, 45, Fragments<\/em>, translated by Miroslav Markovi\u0107 in: the same as reference 5, 22.<\/p>\n
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