THE METAMORPHOSIS OF THE BLACK GODDESS
The eye,
which Stevenson so wonderfully calls a treat for cannibals, for us is such a
disturbing object that we will never bite it...[1]
The cycle of paintings THE METAMORPHOSIS OF THE BLACK GODDESS is the sequel and further
elaboration of the cycle The Black
Goddess in Pompeii, in which I dealt with the existence of the mythical
Black Goddess, which is present in different civilizations and religions, in
different shapes through the entire human history (Through the return to the
narrative, I tried to deconstruct the creation of the myth, and to base that
myth on personal fiction. The research on the Black Goddess combines fiction
and facts in order to relativize any common ground in the interpretation of
history, which is not inclined towards repeated reassessments and changing).
By
elaborating the cycle The Black Goddess in Pompeii, I have
reached space-images on a formal level, which build their existence in
three dimensions with specific material artefacts built into them.
Each of the built-in materials (nails, apples, ceramic eyes, chestnuts, chess figures and boards, parts of
sewing machines, pieces of ceramics) has its own precise symbolic value and a
precise place of installation, but it is important to stress that all the
artifacts have a double, ambivalent role. The first one involves supporting the
narrative flow on a symbolic level, and the second one to use their existence
to break the illusionistic concept of the painting, emphasizing the physical
conditioning of the space and factual matter, all the while relativizing the
line between illusion and reality.
Space images refer to several concepts in modern art (ready-made, counter-reliefs),
in order to also be perceived as postmodern
products that problematize the relationship between modernist research and
the narrative in visual arts.
[1] Ž. Bataj, The Documents 1929
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