Da, o obsesie proaspătă: abia azi am aflat că Maya Kulenovic (n.1975, Sarajevo)există (în Canada, Toronto), ba mai mult, e pur și simplu genială. Se ocupă cu pictura, iată ce spune aici despre tehnica ei:
“My esthetics and sensibility come from classical art. I have always been drawn towards the dramatic, epic feeling of classical art and mythology rather than the more contemporary imagery or narrative. My images have a classical feel to them, because this is the way my hand and eye work. But in many regards they are neither classical nor representational. A painting starts as a real image, but as I paint, the image I see is not only the figurative element, rather, it is the relationship of light and shadow, bright and dark areas of the canvas, and an often uneasy balance of these elements as they push each other and struggle over the areas in between. Light is in a conflict with shadow, yet they define each other, together they bring into existance the figurative image underneath, but at the same time they threaten its integrity. I see shadows as both protective and suffocating, and light as redemptive and obliterating. This balance between light, shadow, and the fragile reality in between is what the psychology of these images is built upon; the expressions and particularities of the faces are secondary.
The process of painting is a sort of a struggle that is neither predetermined nor neutral; each is it’s own complex battle. The classical element in it is related to the figurative nature of the image, but it is subverted by a subsequent process of erasure, which is in its essence abstract, random. I use thin and transparent layers of paint to define the image – the defining layers are usually in the classical palette – using a wide glazing brush, then I follow up with a layer of destruction, using whatever I get my hands on – rags of different textures, blades, palet knives, hardened brushes, wire brushes,sandpaper, , different solvents. Often the ‘destruction’ layer has nothing to do with the realism of the image at all, but it is applied randomly and haphazardly, completely ignoring the classical image underneath. Other times I use it to obliterate areas in light, exposing the canvas underneath. Much of the light in the painting comes from the canvas, and I try to use as little paint as I can. Sometimes instead of erasure, I use a randomly applied layer of an illogical or bright colour, the remnants of which can be seen in traces. So, in a way, my process of painting lately has been creating a defined image, then allowing it to be partially destroyed, and then rebuilding again on the remains. I find this dialog between creation and destruction (or control and abandon) strangely comforting and appropriate.”
Favoritele mele (te uiți în ochii celor pictați de ea și ai aproape stupida certitudine că ele, figurile, imaginile știu mai multe despre orice dar mai ales despre ceea ce contează, decât vei știi tu vreodată):