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March 19th – April 4th
Force Majeures
If ‘reading the image’ is one of the possible processes at our disposal as receptors of creations from the domain of visual arts, then ‘feeling the image’ seems as a far more appropriate reference if we are talking about the lively opus of EmaEmaEma (Emilija Radojčić).
As an author who entered the world of art by painting around the physical, urban space that surrounds us, transposing into it the spirit of nature – regardless of how we choose to understand this ambivalent notion – in her recent works Ema is investigates the outlines of endless inner landscapes, through which she strolls with confidence and absorbs the pulsations of the presence.
Through an almost ritual dedication to the processes of drawing and creating itself, she sends and receives emotions and energetic sine waves of unknown content, but undeniable charge. Thus her tremulous, abstract compositions of extravagant colors can be viewed
as fragments of readings from a ‘meta-oscilloscope’ of sorts, the one that connects her – and us together along the way – to the universal, primordial trembling of ether. Having that in mind, the weaving of circular forms across her drawings, from which multitudes of lines radially but unpredictably pulsate, offer ‘inner maps’ of her movements through the fluid, transcendental plains.
Experimenting with different and previously unfamiliar formats and mediums seems to be an immanent need for Ema, so the ritual of drawing may be switched with endless weaving of tactile compositions over a loom. In itself, they seem as the most natural road for her lines and compositions to come to life within a space, moving through the grid of the loom to create an inspirational play of blanks and surfaces. The ephemeral and elusive feelings become tangible experiences weaved into the threads of the small formats that Ema is determined to sculpt from numerous bulks of wool – haystacks of colorful lines that have always been her basic material for cconstructing reflections of inner worlds.
The relationship between sound and image is another unavoidable topic, but not in the context of contemporary synesthetic audio-visual synchronization that characterizes most of the current artistic production from “new media” domain. Ema probably keeps those searches for one of her next steps. She is now rather asking herself the question how would, in the transition to the next level, her drawings sound like converted to aural vibrations. She probably hears the reverberations of esoteric, vintage synthesizers while she guides her wavy lines and surfaces across paper, and having in mind her affinity to animation and the moving image, we will not have to wait for too long in order to find the answer to her question.
Whether she is moving in monochromatic or sumptuous tones, Ema manages to successfully transmit and articulate the edges of her internal universe, as well as the universe that surrounds us. Or at least one of its visions. Her tuning into the collective subconscious avoids the trap of cheap, esoteric references and unpretentiously manages to bring to life another vision of what could be an uber-mind (nous) of sorts – a collective, vibrating intelligence that we can tune into anytime, as long as we let ourselves do it.
Text: Relja Bobić
Photo: N. Ivanović