Combined digital techniques – photography, drawing and printing on paper and plastic foil / 20 formats – 56x42cm / 2017-19
The concept and form of the female that resists any classification can be a weak point but also an unlimited source of female power.
Ancient goddess of beasts and protector of girls before they join a marital union, Artemis, appears as a very dangerous, elusive goddess of Olympus, omnipresent in her diverse transformations of the female. She regulates everything that is outside the scope of regulation of a citizen (male citizen), because women did not have this status in ancient times.
The material used is a gift from my grandmother. It was intended for sewing of a summer girl’s dress as a kind of initiation into a socially suitable civilisational life of a young girl, but It never became one. Instead, it is transformed into a digital sculpture, modelled in a relation to antique sculptures that were created in process of ‘taking away’ body limbs/parts of sculpture by influence of weather and atmospheric-spatial circumstances. That way, the sculpture of a whole body becomes a drapery in the form of a torso that describes the presence of one historical and symbolical-civilisational body phase. In this work, real temporal-spatial, destructive-creative influences on ancient sculptures are consciously reduced to space and time in digital terms.
Kombinovane digitalne tehnike – fotografija, štampa na papiru i plastičnoj foliji / 20 formata – 56x42cm / 2017-19
Pojam i forma ženskog koja se opire svakoj klasifikaciji može biti slaba tačka ali ujedno i neograničen izvor ženske moći.
Antička boginja zvijeri i zaštitnica djevojaka prije ulaska u bračnu zajednicu, Artemida, se pojavljuje kao veoma opasna, neuhvatljiva boginja Olimpa, sveprisutna u svojim raznolikim transformacijama “ženskog”. Ona reguliše sve što je izvan dometa regulacije građanina- muškog građanina, jer žene nisu imale taj status u antičkom dobu.
Korišteni materijal je poklon od bake. Namijenjen je šivenju ljetne djevojačke haljine kao vrsta inicijacije u društveno i civilizacijski podoban djevojački život. Nikada nije postao djevojačka haljina. Transformisan je u digitalnu skulpturu po uzoru na antičke skulpture koje su dorađene “oduzimanjem” tjelesnih udova/dijelova skulpture uticajem vremena i atmosfersko-prostornih okolnosti. Skulptura cjelovitog tijela postaje draperija u formi torza koja opisuje prisustvo jedne istorijske i simboličko-civilizacijske tjelesne faze. Realni vremensko-prostorni, destruktivno-kreativni uticaji na antičkim skulpturama, u ovom radu, su svjesno svedeni na prostor i vrijeme u digitalnom smislu.
Borjana Mrdja 