Painting - Installation

Ljubica Jelisavac / Painting - Instalation / Concordia - Gallery of the National Museum - Vrsac, 2000

 

The current media step by Milica Vergot, inasmuch as it corresponds to modern
artistic practice, is a natural continuation of everything that this author has achieved in art. During the writing of this text, it is already a past moment in the process of development and epitomizing of her creative ideas.

The dominant object of the showing- painted and “constructed” cross of Milica Vergot –
suggest the following categories with its associative/visual properties: space/time, historical/modern, individual/collective, archetype/all that affirms its primal model. In the connection between its own and the author’s logic, it is “only” (and not by chance) a center for other art factors of this serious spatialization, a unique intervention in the given space. Wires, as threads of the basis, come out of the horizontal segment of the cross. They “travel” with high voltage to side walls and “destinations” retaining the contact and
resultant forces with the “source”.

The cross, which also defines space here, has been one of the most expressive in our recent art. It is monumental, despite certain “fragility”; it is evocative and awakened as a sign – just because of its elementariness and art. The whole polynomial “installation” is supported by a cross as an overall principle, despite variability and vibrancy, surfaces of informell originality, meditative blue, light reflexes, mirror deception and inevitability of black – sensually provocative and impressive.

Every painting, whether a large tableau or sequence on tracing paper, aims for reduction, movement and ideation. The artist searches for their optimum aesthetic and semantic relations and the exhibition changes not only in dependence of space but of the artist’s optical and optative evolution.

The fundamental category of modality, which leads to the point that the showing is spontaneously designed and constituted, is necessity/coincidence. Spiritus movens of this creation, which becomes a happening, Milica Vergot, for whom art is a matter of confidence as well, has embodied the very movens – cause of movement or spiritual identification and integration, intuitive recognition of oneself and all principles, the essence of the being, despite volatility and transience in the world. She has supported an ontological dialogue with a joint action by the painting and concept, layered and transparent, emotional and contemplative, monumental and intimate, static and dynamic...The synthetic ambiental showing gives the authenticity of a shrine to the gallery space, tentatively – the painting as the meaning of existence. Milica Vergot is not satisfied just to “be” in the painting, she wants to sensibly take hold outside it.