http___www.jasna-barisic.com_hr_galleries_the-mediterranean-cycle-or-the-feast-of-the-sun__1.xml
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Jasna Barišić lives and works in Zadar. Born in Split in 1965, structural engineer by education, Jasna enjoys her complete freedom in painting. She paints intensively from 1991 and exhibits from year 2000. Jasna is one of co-founders of international art group the Connecting Art, the group that aims to discuss art and artists collaboration, while respecting cultural, age and art differences. This I find important in order to understand the poetics of the new paintings cycle entitled The Mediterranean, which was in a way announced at the 2006 exhibition by The Connecting Art group in Thessaloniki, named The Dialogs. The author then exhibited two paintings which explored – unlike her previous work – the chromatic charge to the limit of complete saturation of the surface; interpreting the given topic of dialog with two almost monochromatic mirrored images. She explained her view of dialog as ‘calm and positive intersection of different patterns exchanging their ideas’. That atmosphere is easy to be recognized in her most recent works. The graphic axes in Jasna’s paintings are not expressed by the way of opposed abstract – figurative approaches, but rather in direct reading of painting values. Apart from acrylic paints, Jasna uses recycled paper and old wires in her paintings, as an ‘inexpensive’ art material which diverts attention from the not entirely explicit content to the endeavor of creating something beautiful out of the inexpensive. Her paintings therefore boast with rich texture which emphasizes material aspect of each particular canvas that often employ ‘bad’ or rejected materials, as a manner of perpetuation of the visual art heritage of the 20th century. Especially so in the cases of introvert authors who built their world from within, aiming to create art which is not based on objects. Hence the majority of Jasna’s canvases may also be observed as arrangement of form and color, as well as a landscape. The author and her experience of Dalmatia mutually defined each other. It is common knowledge that we all are, more or less, defined by the world and region we were formed in. Numerous reminiscences of the spirit of Dalmatia can be found in the works of Jasna Barišić. But those reminiscences are not some misty shores she left behind long ago; they are rather revived enchantment that awakes ability to re-live the past again and again. The Mediterranean cycle was incepted after authors return from California. The first works of the cycle were presented at the group exhibition held at the Museum of the City of Trogir, and at the Mediterranean Biennale held at the Milesi Palace in Split. The essence of the soil is suggested by the color and relief of the canvases, but Jasna’s Mediterranean paintings shows no blue or green! By the way of exploring approach to the light, while – at the same time – stressing the experience of subjective, the artist in her new cycle created tender, almost monochromatic paintings. It is an act of merging all her previous artistic cadences and motives. The basic tone of the paintings spreads from warm grey to off-white. The accents are achieved by formed cells, black wire ‘nests’, and occasional red-yellow eruptions on certain canvases. Small, round, black prints are present in almost all of the canvases of the cycle, and they can be read as pebbles or as pure decadence at the same time. The composition of almost all of the canvases is one of vertical division to stripes defined either by direct horizontal strokes or change in the treatment of the surface. Joyful experience of space and color that spreads through the canvas in hymn resembling atmosphere is achieved by rhythmical connection of the composition tissue. Individual experience of her native Adriatic is transposed technique that provides glittering light; in this case it is the light of the summer afternoon sunlight reflected of the white stone so strong that it can ‘blind you to the extend of dizziness’. It is the light that dominates, subduing all the other shades of the nature. ‘I used to feel the intoxicating scent of sage we used to pick at the stone fields of the island of Pag. I remember the beauty of stone-piled walls and bare plots of land that can only nurture olive trees. I remember women in their black scarves in contrast to white rocks surrounding them’. These are the words of the author herself, describing the coloristic nature of her work that implies existence of subconscious as well as pure lyricism. In her recent works, Jasna Barišić reduced the landscape almost to the sign, stretching its basic configurative and coloristic attributes to tonic painting defined by its compelling calmness, abstention and balance. This is the calmness of a focused observer, while under the surface of the paintings vibrates the life, the feast of sunlight and immense energy. Darja Radović Mahečić, PhD, Art Historian
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Jasna Barišić živi i radi u Zadru. Rođena je 1965. u Splitu i po struci je statičar, a potpunu slobodu uživa u slikarstvu. Intenzivno slika od 1991., a izlaže od 2000. godine. Jedna je osnivača međunarodne skupine umjetnika Connecting Art, koji su se okupili poštujući međusobne nacionalne, kulturne, generacijske i umjetničke različitosti, kako bi razgovarali o umjetnosti i zajedno izlagali. Spominjem to zbog toga što je poetika novog ciklusa slika Jasne Barišić Mediteran na neki način najavljena bila još 2006. na izložbi Dijalozi ove grupe u Thessalonikiju. Tada je autorica dijalog prikazala dvjema slikama, koje su za razliku od njezinih dotadašnjih slika, u kojima je istraživala i iskušavala koloristički naboj do potpune sitosti površine, zadanu temu dijaloga interpretirala dvjema gotovo monokromnim zrcalnim slikama. Sama je pojasnila da je po njoj dijalog: „…miran, pozitivan, susretište različitih priroda koje izmjenjuju međusobno svoje ideje“. Takav ugođaj iščitavamo i na najnovijim njezinim slikama. Likovno težište u slikama Jasne Barišić nije u antitetičkom paru apstrakcija-figuracija, već u neposrednom čitanju slikarskih vrijednosti. Osim akrilnih boja na svojim platnima ona rabi reciklirani papir i žicu, kao „jeftin“ slikarski materijal, čime skreće pozornost s nedovoljno eksplicitnog „sadržaja“ na nastojanje da se iz jeftinog stvori nešto lijepo. Njezina se platna zato odlikuju raskošnom teksturom koja izrazito naglašava tvarnost, tj. materijalnost slika, često iz „loših“ ili odbačenih materijala, pozivajući se tako na naslijeđe likovne umjetnosti 20. stoljeća. Osobito na autore okrenute sebi, koji su svoj likovni svijet gradili iznutra i nastojali stvoriti umjetnost bez predmeta. Jer većina platna Jasne Barišić može se gledati i kao aranžman forme i boje, i kao krajolik. Autorica i dalmatinska zemlja određivali su se uzajamno. Sigurno je da smo više ili manje svi uvjetovani svojim djetinjstvom, svijetom i krajem u kojemu smo se formirali. U djelu Jasne Barišić postoji niz reminiscencija na dalmatinsko podneblje, no to nije maglovita obala od koje se davno otisnula već obnovljeni zanos koji budi povratak u prošlost. Ciklus Mediteran započela je raditi po povratku iz Kalifornije za skupnu izložbu u Muzeju grada Trogira i Mediteranski biennale u Palači Milesi u Splitu, što su se održale 2008. godine. Bit tla sugeriraju boja i reljefna površina platna, no na njezinim mediteranskim slikama nema niti plave niti zelene. Studiranjem svjetlosti te redukcijom fizičkih atributa prirode s jedne strane, a isticanjem subjektivno važnog s druge strane, te pročišćavanjem i sublimacijom palete, Jasna Barišić je s novim ciklusom ostvarila nježna, gotovo monokromna platna. Riječ je o sažimanju dosadašnjih slikarskih dionica i motiva. Osnovni ton slika je u rasponu od tople sive do prljavo bijele. Akcente čine formirane jezgre, žičana crna „gnijezda“ i mjestimične crveno-žute erupcije na nekim platnima. Mali okrugli crni otisci prisutni na gotovo svim slikama ciklusa, mogu se čitati i kao obluci, ali i kao čista dekoracija. Gotovo sva su platna kompozicijski po vertikali razdijeljena u pojaseve, koji su naznačeni bilo izravnim horizontalnim potezima, bilo izmjenom tretmana površine. Ritmički povezanim kompozicionim tkivom prostorno se širi himnična doživljajnost prostora i boje. Individualno iskustvo rodnog Jadrana Jasna Barišić transponira u tehniku koja važnost daje blještavoj svjetlosti, u ovom slučaju ljetnoj podnevnoj sunčevoj svjetlosti na bijelom kamenu „koja te toliko oslijepi da osjetiš vrtoglavicu“ i koja toliko dominira da prigušuje ostale tonove u prirodi. „Osjetila bi opojni miris kadulje koju bi brali po kamenim poljima Paga. Sjećam se ljepote suhozida i mocira na kojima uspjeva jedino maslina. Žena u crnim fuštanima, njihove crne odore uz bijeli kamen“, kaže sama autorica, koja kolorističkom naravi svog slikarstva implicira postojanje podsvjesnog i čist lirski naboj. Najnovijim slikama Jasna Barišić je svela krajolik gotovo na znak i napregnula mu temeljne konfiguracijske i kolorističke značajke negdje između rebusa i tonskog slikarstva, koji za posljedicu imaju sugestivnu mirnoću, suzdržanost i staloženost. To je smirenost koncentriranog promatrača i pod mirnom površinom slika pulsira život, svečanost svjetlosti sunca i jarke energije. Dr. sc. Darja Radović Mahečić, povjesničarka umjetnosti