Branko Lazic: In The World of Art, In the World of Museum - studies, critiques, visual essays - Publisher : National Museum - Valjevo, 2003
BOTH GALLOWS AND PLUMES
Paintings by Milica Vergot
Mystery and holiness of living, for many philosophical and ethical thinking of man and especially for artistic/aesthetic materialization, have always been and still are, at the same time, a chair under the gallows and a plumy cloud bed. Building a labyrinth of
inopportune ideas of this world and the same desires and efforts to make them real, the man has not forgotten but has xenophobically suppressed heavenly commands. And he has tattooed his all interior on his skin and forgotten his soul in virtual reality.
By researching dimensions and properties of the microcosmos, the painter Milica Vergot constantly nears the end of her journey to an imaginary island of her serenity. But, she is only nearing it because such an island, as a mirage in hot air, is just a creamy image of the real sanctuary rising constantly and being around the spinal horizon. It is a charm of many challenges and “only if you keep going, you will arrive where you have intended to”.
Paintings by Milica Vergot paraphrase “tenderness” of lyric abstraction and “cruelty” of informell. Moreover, there is a present cryptomnesia of the renaissance/manneristic effect of the painting’s subject matter coming out of the so-called
given format. However, it is not a repetition of historical/artistic trends, but the use of heritage for subjective radiation. Simplicity of the visual process, seemingly, which realizes the non-figurative subject matter on the canvas, brings a potential danger of wrong interpretation and evaluation of paintings; this simplicity is just an illusion. “Art is
similar to life in this aspect: it looks like a game and in fact it is a diabolically serious matter; the more it looks like a game the more it is serious.”1 Milica Vergot, not only with a harmony of formal/visual and colorist/line conflicts, but also with reality of
phenomena and their contrasts, paints both internal contrasts and our questions in the world of essence. The absence of recognized forms always causes major intellectual
confusion as a basic sequence of principles to the effect that “practical objectives determine perception in life”2 However, as a relief, “decorativeness” of abstraction promotes own emotional susceptibility. This is contemplatively obligatory creative work.
According to the experience and practice, especially in the 20th century, such visual art could and should be accompanied by a written manifesto and not only by a “letter of intent”. There is no synthesis without analysis.
Milica Vergot, in her cycle “Painting, illusion, reality” has decided not to fake facing herself, or, even worse, as some, to leave it to someone else. She persistently “dials a zero, seeking an outgo”. Perhaps, some “fixed” or mobile phones, faxes, pagers or computer links will “redden” in bilateral communication with these visual works of art. This could happen only in case of the man’s “stand by” state and attractive network of nerve endings.
1 Ivo Andric, Signs by the road, Belgrade 1983, 186.
2 Nikolai Hartman, Aesthetics, Belgrade 1979, 68.