JELENA PAVIĆEVIĆ. Zemlja Kosmosu. Earth to Cosmos

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1 JELENA PAVIĆEVIĆ Zemlja Kosmosu Earth to Cosmos

2 DOM / HOME naslovna strana / cover page 76 x 45 x 43 cm terakota, vunica terracotta, wool Ciklus crteža AURA IMPULSA series of drawings AURA OF IMPULSE kombinovana tehnika mixed media

3 U generaciji mlađih crnogorskih vajara prisutnih na domaćoj likovnoj sceni, skulptura vajarke Jelene Pavićević javlja se kao značajan i autoritativan primjer umjetničkog reagovanja na različite spoljašnje i unutrašnje utiske i izazove. Akademski odgojena u najboljem maniru klasičnog poznavanja tretmana materijala, u smislu njegovog suštinskog prihvatanja i razumijevanja, autorka radi figure u terakoti, na tragu antropomorfnih sadržaja, mitskih i arhetipskih sugestija, gdje materijal gotovo da postaje narav stvorenih oblika. Ta privrženost materijalu glini, kao takvom, proizilazi najprije iz razloga što njegova priroda najtačnije emituje i podstiče te duboko utisnute taloge primarnosti, rustičnosti i mističnosti njene skulpture, čiji sadržaj se javlja kao emanacija nekog nadvremenskog ili čak kosmičkog značenja. Sklonost arhaičnim oblicima nudi mogućnost deformacije oblika, na način blagih uganuća, prelamanja, usijecanja, ali i jedan jedinstven osjećaj jednostavnosti i monumentalnosti nekog iskonskog ideala oblika, koji ima korijena u naslijeđu starih civilizacija ili u okviru nekog sveopšteg drevnog iskustva. Pavićević svoj plastički izraz zasniva na neprikosnovenosti forme, kao i na autohtonoj snazi likovnih i skulptoralnih elemenata. Promišljenim planiranjem skulptorske cjeline, figuru svodi na jednu, dvije ili tri oblikovne mase, pri čemu postiže i zadržava osjećaj formalne jezgrovitosti. Plastičku cjelovitost ne narušavaju ni perforacije po opni mase njenoj fakturi, kao ni prorezi, otvori, šupljine, korišćenje i umetanje drugih materijala (vunica), iz razloga njene ostvarene skulptorske punoće. Neprestano istražujući i analitički propitujući taj odnos forma volumen prostor, Pavićević provjerava najrazličitije odnose zatvorenih i poluotvorenih oblika, punoće i praznine, glatkoće i hrapavosti, kako bi došla do samosvojnosti i samostalnosti tih skulptorskih elemenata i tako postigla njihovo potpuno uzajamno djelovanje. Dodatno, naglašen osjećaj za volumen čini da njena skulptura, snažnih asocijativnih sugestija, djeluje čvrsto i postojano, emitujući tako iskonsku energiju univerzalnih i metaforičnih značenja. U pokušaju opredmećivanja ideje, prve misli, početnog, inicijalnog impulsa koji dalje tjera ka realizaciji skulpture, nastala je serija crteža ili tačnije rečeno kolaža (iz razloga dodavanja raznih materijala u crtež, novinski papir, vunica, tkanina ) koje Pavićević radi uporedo i u odnosu na svoju skulpturu. Međutim, oni imaju svoju vlastitu osobenost i likovnu autonomnost, zahvaljujući njihovom specifičnom, organičkom plastičkom izrazu. Na neki način pokušavajući da dešifruje strukturu organske ćelije, kao metaforu nekog primarnog nukleusa odakle sve potiče i sve nastaje, autorka se upušta u ispitivanje i promišljanje ne samo sopstvenih misaonih procesa, već i u likovnu problematiku koja obuhvata složene odnose forme i sadržaja. Dodavanjem i umetanjem drugih materijala, konkretno trakica vunice ili neke druge tkanine koje trepere oko crteža i na taj način postaju njegov okvir, dodatno se naglašava i aludira na morfološki oblik jezgra, njegovu vibrantnost i fragilnost. Tako ovo podsticajno i intrigantno promišljanje na tragu antropoloških shvatanja prirode čovjeka, ovdje postaje prije svega estetski zanimljivo i likovno uspjelo ostvarenje. Prizivajući civilizacijske, organičke i poetske sadržaje, Pavićević otvara jedno nepregledno polje dešavanja u kom su moguća neprestana traženja i otkrivanja dubokih slojeva najrazličitijih značenja. Na tragu tih kretanja, ostavlja utisak ostvarenog i promišljenog vlastitog djela. Milica Bezmarević

4 LJUBIMAC DARLING 37 x 28 x 22 cm terakota, vunica terracotta, wool

5 Belonging to the younger generation of Montenegrin sculptors present on the local art scene, the sculptress Jelena Pavicevic and her sculptures appear as a significant and authoritative example of artistic response to a variety of external and internal impressions and challenges. Educated academically, in the best manner of classical knowledge of treatment of material, in terms of its fundamental acceptance and comprehension, the authoress creates figures in terracotta, along the lines of anthropomorphic content, mythical and archetypal suggestions, where the material almost becomes the character of created forms. This attachment to the material clay, emerges primarily from the reason that its nature most accurately transmits and encourages these deeply embedded deposits of primacy, rusticity and mysticism of her sculpture, the content of which appears as an emanation of a timeless or even cosmic significance. Preference for archaic forms offers the possibility of shape deformation, in a manner of mild sprains, refractions, incisions but also a unique sense of simplicity and monumentality of a primeval ideal form which has roots in the heritage of ancient civilizations or in the context of a universal primordial experience. Pavicevic bases her sculptural expression on the inviolability of form as well as on the authentic power of fine art and sculptural elements. By means of thoughtful planning of the sculptural entirety she reduces the figure to one, two or three shaped masses while attaining and retaining a sense of formal conciseness. The plastic integrity is not disturbed either by the perforations of the membrane mass - its structure or by the slits, holes, hollows, the use and insertion of other materials (wool) and this is because of her accomplished sculptural completeness. By constantly exploring and analytically questioning that relation form volume space Pavicevic re-examines the most different interactions of closed and semi-open forms, fullness and emptiness, smoothness and roughness so as to reach individuality and autonomy of these sculptural elements and achieve their complete interaction. In addition, an emphasized sense of volume makes her sculptures, which have strong and associative suggestions, appear as solid and stable, emitting thus a primordial energy of universal and metaphorical meanings. In an attempt to objectify the idea, the first thought, the initial impulse that continues to push towards the realization of sculptures a series of drawings or, more precisely, collages was created (this was because of the addition of various materials into the drawing - newspaper, wool, cloth...). Pavicevic works on them side by side and in relation with her sculptures. However, they have their own distinctiveness and visual autonomy thanks to their specific, organic plastic expression. In a way, trying to decipher the structure of the organic cell, as a metaphor of a primary nucleus where everything comes from and everything originates, the authoress engages in the research and reflection not only on her own thought processes but also on visual art issues that involve complex relationships of form and content. By adding and inserting other materials, in particular wool strips or some other fabric that flicker around the drawing thus becoming its frame, she furthermore emphasizes and alludes to the morphological form of the nucleus, its vibrancy and fragility. In this manner, the stimulating and intriguing reflection in the wake of anthropological understandings of human nature becomes here, above all, an aesthetically interesting and visually successful achievement. Invoking civilizational, organic and poetic contents Pavicevic opens up an immense field of actions in which constant search and discovering deeper layers of different meanings are possible. In the wake of these developments one gets the impression of an accomplished and thoughtout work. Milica Bezmarevic

6 PRIJATELJ FRIEND 24 x 42 x 20 cm terakota, vunica terracotta, wool

7 ISKOPINA EXCAVATION 26 x 46 x 32 cm terakota, vunica, glazura terracotta, wool, glaze

8 ISKOPINA EXCAVATION 38 x 30 x 48 cm terakota, glazura terracotta, glaze

9 ISKOPINA EXCAVATION 35 x 21 x 34 cm terakota terracotta

10 LJUBIMAC 1 DARLING 1 28 x 24 x 45 cm terakota, glazura terracotta, glaze

Jelena Pavićević je rođena u Podgorici 1989. godine. Osnovne i specijalističke studije, odsjek vajarstvo završila je na Fakultetu likovnih umjetnosti Cetinje u klasi prof. Milivoja Babovića.

11 Jelena Pavićević je rođena u Podgorici godine. Osnovne i specijalističke studije, odsjek vajarstvo završila je na Fakultetu likovnih umjetnosti Cetinje u klasi prof. Milivoja Babovića. Apsolvent je na master studijama Akademije likovnih umjetnosti Sarajevo, odsjek vajarstvo u klasi prof. Mustafe Skopljaka. Dobitnica je Godišnje nagrade za vajarstvo Fakulteta likovnih umjetnosti Cetinje godine; Otkupne nagrade Univerziteta Crne Gore godine; Prve nagrade na konkursu Umjetnost za Život - Zdrava Dona Montenegrina (nagrada za idejno rješenje nakita). Učesnica je mnogih internacionalnih kolonija. Izlagala je na velikom broju kolektivnih izložbi kao i na dvije samostalne izložbe. Učestvovala je kao rezident u Dukley European Art Community u Kotoru 2016 godine. Članica je ULUCG od 2012 godine. Značajne kolektivne i samostalne izložbe: - Teratorija, Knez Mihajlova, Beograd, Salon Petar Lubarda, Cetinje, Imago mundi Luciano Benetton Collection, Italija, Diplomska izložba, Galerija 42, Cetinje, Iskopine, Galerija Centar, Podgorica, Kontakt: tel mail: jelenaaapavicevic@gmail.com Jelena Pavicevic was born in Podgorica in She completed Basic and Specialist studies at the Faculty of Fine Arts in Cetinje, Department of Sculpture, in the class of Professor Milivoje Babovic. Currently she is attending master studies at the Academy of Fine Arts in Sarajevo, Department of Sculpture, in the class of Professor Mustafa Skopljak. She was awarded the Annual Prize for Sculpture at the Faculty of Fine Arts in Cetinje in 2012; the Acquisition Prize by the University of Montenegro in 2012; the First Prize at the contest Art for Life - Healthy Dona Montenegrina (prize for the conceptual design of jewellery). She took part in many international art colonies. She has exhibited at numerous group exhibitions and had two solo exhibitions. She was a resident at the Dukley European Art Community in Kotor in She has been member of the Association of Fine Artists of Montenegro (ULUCG) since Significant group and solo exhibitions: - Teratorija, Knez Mihailova, Belgrade, Petar Lubarda Salon, Cetinje, Imago Mundi, Luciano Benetton Collection, Italy, Graduate exhibition, Gallery 42, Cetinje, Excavations, Gallery Centar, Podgorica, 2012 Contact: Tel: jelenaaapavicevic@gmail.com

12 Jelena Pavićević Galerija Centar Njegoševa 2, Podgorica Izdavač Centar savremene umjetnosti Crne Gore Za izdavača Nenad Šoškić Kustoskinja Milica Bezmarević Tekst Milica Bezmarević Prevod na engleski Darja Marija Vuletić Fotografije Maja Dedivanović, Jelena Pavićević Tehnička realizacija izložbe Novica Vuković, Nebojša Raspopović Tiraž 150 Štampa DPC, Podgorica januar/februar ISBN COBISS.CG-ID

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