Tanja Roscic
25 Nov 2011 - 28 Jan 2012
© Tanja Roscic
Gloria, 2011
Installation
Car, wood, plexi, acrylic, silicon, neon, air brush, videofilm with sound
Gloria, 2011
Installation
Car, wood, plexi, acrylic, silicon, neon, air brush, videofilm with sound
TANJA ROSCIC
Gloria
25 November, 2011 - 28 January 2012
After her work has been presented in various group and solo exhibitions in the gallery context over the last 3 years, we are now very delighted to announce a new solo exhibition by Tanja Roscic (*1980, KOS/ HR, lives in Zurich) at Freymond-Guth Fine Arts.
An excessive visual language, abundant metaphors and a radical wildness are vocables to describe Tanja Roscic’s art. Fullness all over, wherever the eye points at.
The artist transforms lived moments of things seen, thought, felt, loved or hated into visibility.
And this is where the quality of the work lies: in the process of transformation as a sensitive approximation to these aspects of life. Subtly and fragile, driven by the clarification of the individual perceptions, she appropriates everything from life itself. Glue, paper, cloth, notebooks, pencil, paintbrushes, found items, objects, things: material of all kind.
It is such material that the artist metamorphoses to matter in order to transform it to her basic material. Through such working procedures she cleans her material from the semantics of its origin. Former charging thus becomes neutralised without losing the substance of the material. Alchemy speaks of the prima materia – the purified primary matter – that is the precondition for any process of transformation.
Tanja Roscic follows the invisible laws of matter, allows them to conduct her and converts them to the dialogue with aspects of life that again follow their specific laws. Doing so, she doesn‘t work dissimilarly to the adept, the venerable pupil of alchemy. She broils and liquefies, pulverises and melts, betakes acids, mixes solvents. She glues, cuts, dyes, pastes over, welds: produces ductile modelling clay, fixes, rubs, applies pen and paintbrush. In short: she experiments, experiments even with the experiment, fights for the appropriation of the matter.
Pure alchemy. Tanja Roscic searches for the coniunctio oppositorum, the concurrence of the opposites in the process of creation and doing so, she works with the knowledge that the process of visualisation eludes the process of linguification. The amorphous, the ambiguity attains clearness in its physical presence. Aspects of life are clear. Here, language as a symbolic order of hierarchies reaches its limits.
Since the beginning of her artistic career, Tanja Roscic has led such physical presence into the third dimension. Compositional elements protrude out of cracks that result from opening the image plane. In the course of time, fragments of all kinds of origins condense more and more to an overlapping of imaginary and real spaces.
Clearness exists no longer in the sense of indivisibility as it is understood by the definition of the individual. Complex aspects of life unfold to exuberant anthropospheres. The current installation embodies such a simultaneous being in different worlds exemplarily. It is an existence within the visual, within the imaginary, of a protean kind, migrating from one world to another, from one moment in life to the next.
(Laura Arici)
Gloria
25 November, 2011 - 28 January 2012
After her work has been presented in various group and solo exhibitions in the gallery context over the last 3 years, we are now very delighted to announce a new solo exhibition by Tanja Roscic (*1980, KOS/ HR, lives in Zurich) at Freymond-Guth Fine Arts.
An excessive visual language, abundant metaphors and a radical wildness are vocables to describe Tanja Roscic’s art. Fullness all over, wherever the eye points at.
The artist transforms lived moments of things seen, thought, felt, loved or hated into visibility.
And this is where the quality of the work lies: in the process of transformation as a sensitive approximation to these aspects of life. Subtly and fragile, driven by the clarification of the individual perceptions, she appropriates everything from life itself. Glue, paper, cloth, notebooks, pencil, paintbrushes, found items, objects, things: material of all kind.
It is such material that the artist metamorphoses to matter in order to transform it to her basic material. Through such working procedures she cleans her material from the semantics of its origin. Former charging thus becomes neutralised without losing the substance of the material. Alchemy speaks of the prima materia – the purified primary matter – that is the precondition for any process of transformation.
Tanja Roscic follows the invisible laws of matter, allows them to conduct her and converts them to the dialogue with aspects of life that again follow their specific laws. Doing so, she doesn‘t work dissimilarly to the adept, the venerable pupil of alchemy. She broils and liquefies, pulverises and melts, betakes acids, mixes solvents. She glues, cuts, dyes, pastes over, welds: produces ductile modelling clay, fixes, rubs, applies pen and paintbrush. In short: she experiments, experiments even with the experiment, fights for the appropriation of the matter.
Pure alchemy. Tanja Roscic searches for the coniunctio oppositorum, the concurrence of the opposites in the process of creation and doing so, she works with the knowledge that the process of visualisation eludes the process of linguification. The amorphous, the ambiguity attains clearness in its physical presence. Aspects of life are clear. Here, language as a symbolic order of hierarchies reaches its limits.
Since the beginning of her artistic career, Tanja Roscic has led such physical presence into the third dimension. Compositional elements protrude out of cracks that result from opening the image plane. In the course of time, fragments of all kinds of origins condense more and more to an overlapping of imaginary and real spaces.
Clearness exists no longer in the sense of indivisibility as it is understood by the definition of the individual. Complex aspects of life unfold to exuberant anthropospheres. The current installation embodies such a simultaneous being in different worlds exemplarily. It is an existence within the visual, within the imaginary, of a protean kind, migrating from one world to another, from one moment in life to the next.
(Laura Arici)