2009. COLOR THERAPY: aquarelle

 

Technique: aquarelle and collage /
Size: from 10 x 30 to 70 x 100 cm /
Year: 2009-2012 /
Exhibitions: 2012. Budapest, Gallery Lenia (with Stefan Wehmeier); Church Santa Marija, City Teatar; Novi Sad, Museum of Vojvodina; Niš, Salon 77; Belgrade, Prodajna Galerija Beograd / 2013. Aying (Germany), Gallery Aurum Magnum / 2014. Munich (Germany), Mohr-Villa Freiman

Sava Stepanov (about the exhibition)

In the most recent round of problems in the pictorial cycleCOLOR THERAPY where artist Maja Erdeljanin addresses the problems of advanced global information communication in one, indeed a specific way, the artist has made an extremely interesting series of aquarelle paintings. Here, also she insists through the concept of abstract painting on the expressive but lyrical, poetic charge.There by the artist insists on independent effects of visual elements – colors, gestures, playful formalistic assemblies… At the same time, these aquarelles have a certain non-painting applications – especially visible in the printed letter and text notes.The result of such a procedure are unconventional but completely “pure” aquarelle; achievements in which the artist emphasizes the dignity of her own creativity, consistently worrying about the purity of aquarelle speaking, but also of “innovating” it with certain actions – without compromising the integrity of media of hers watercolors creations…

Although these aquarelles belong to the abstraction conceived paintings, regarding them is possible to talk about some substantive remarks. For, Maja Erdeljanin deals with the topic and the problems of the global information system.She therefore brings to her works texts and related lettrismic signs of advertising and promotional messages – which the world capital is to impose, to embrace and adapt the whole of society to itself. According to this phenomenon the artist refers by expressionist action, gestural, even passionately expressing hers individuality as the most obvious and most convincing attitude.Because, with these achievements is artists creative mind confirmed, her sense of demiurgeous overcoming any feeling of crisis and vulnerability.

What we must emphasize is that all these and such intentions of Maja Erdeljanin has pronounced using the authentic painting-aquarellistic way: she is primarily expressing herself by color. As we speak about the aqarelles, it should be noted that this colorism is fresh, clear and watery and that the artist has managed to miraculously reach full intensity of color. The presence of text application here is quite functional: all text indicate the color, it’s quality, even it’s character. Conceptual justification for the present is obvious and functional because, at the same time, reinforces the importance and quality of messages, and finally the criticism of such phenomena in a modern society that Polish philosopher Mjecislav Porempski has rightly spoken of a kind of „iconsphere“, on a global society full of visual system information. That system Maja Erdeljanin effectively „confronts“ with the paintings and with hers expressive, sensitive, poetic and lyrical aquarell.

 

Sava Stepanov (tekst u katalogu)

U okviru najnovijeg problemskog pikturalnog ciklusa COLORTRENDcoellection u kojem se na jedan, odista zaseban način, slikarka Maja Erdeljanin bavi problemima uznapredovalog globalnog informacijskog komuniciranja, umetnica je ostvarila i izuzetno zanimljivu serija akvarelističkih slika. I ovde se koncepcijom apstrakcijske slike, insistira na ekspresivnom ali lirskom, poetskom naboju. Pri tome umetnica insistira na samostalnom dejstvu likovnih elemenata – boje, gesta, razigranih formalističkih sklopova… Istovremeno, u ovim akvarelima postoje i određene neslikarske aplikacije – pre svega vidljive u štampanim slovnim i tekstualnim napomenama. Rezultat takvog postupka su nekonvencionalni ali ipak sasvim “čisti” akvareli; ostvarenja u kojima umetnica naglašava vlastiti stvaralački dignitet dosledno se brinući o čistoti akvarelističkog govorenja, ali i o njegovom “inoviranju” određenim postupcima – bez ugrožavanja medijskog integriteta tih njenih akvarelističkih tvorevina…
Iako ovi akvareli pripadaju apstrakcijski koncipiranom slikarstvu, povodom njih je moguće govoriti o određenim sadržinskim naznakama. Jer, Maja Erdeljanin se bavi temom i problemima globalnog informacijskog sistema. Ona zbog toga u svoja dela unosi tekstove i letričke znake pripadajuće oblasti advertajzinga i reklamnih poruka – kojima bi svetski kapital da se nametne, da obujmi i sebi prilagodi čitavo društvo. Prema toj pojavi umetnica se odnosi ekspresionistički, gestualno, čak strasno izražavajući svoju individualnost kao najočitiji i najubedljiviji stav. Jer, ovim se ostvarenjima potvrđuje umetničina stvaralačka svest, njen smisao za demijurško prevladavanje svakog osećanja krize i ugroženosti.
Ono što svakako treba naglasiti da je sve te i takve svoje namere Maja Erdeljanin izrekla na autentično slikarsko-akvarelistički način: ona se prevashodno izražava bojom. Kako se radi o akvarelima treba napomenuti da je taj kolorizam svež, proziran i voden a da je slikarka uspela da na čudesan način dosegne pun koloristički intenzitet. Prisutnost tekstualnih aplikacija ovde je sasvim funkcionalno: svi tekstovi označavaju boju, njen kvalitet, čak karakter. Konceptualna opravdanost  tog prisustva je očigledna i funkcionalna jer, istovremeno, pojačava značenje i kvalitet poruke, a konačno i kritike pomenutih pojava u savremenom društvu o kojem poljski filozof Mječislav Porempski s pravom govori kao o svojevrsnoj “ikonosferi”, o društvu potpuno određenom globalnim sistemom vizuelnih informacija. Tom sistemu  Maja Erdeljanin se slikarski efektno  “suprotstavlja” svojim ekspresivnim, senzibilnim, poetskim i lirskim akvarelima.