Sonja Ludin
ISKRA
17. jun – 30. jun 2017. 
transformArt gallery
Svetog Save 8, 11000 Belgrade

Iskra je konceptualni rad koji propituje značaj detalja i lepote u trenucima koji brzo prolaze. Rad je sastavljen od XVIII minijatura izvedenih u tehnici akvarela, a svaki segment Iskre pažljivo je odabran i izdvojen trenutak iz života. Emotivne minijature predstavljaju koncept intimnosti kroz detalje zapamćenih slika (ili radije, jednog trenutka) čiji se izvor lako ne prepoznaje. Svaki od pojedinačnih segmenata rada evocira priče iz prošlosti. Kao što neki autori koriste uvećane detalje slike da bi ih naglasili, Iskra pokušava da prevaziđe granice tehnike tako što se paradoksalno vraća detalju iz trenutaka opažanja i prenosi ga u minijaturu. Postavka izložbe potcrtava svaki trenutak prošlosti preveden u sliku pojedinačnim predstavljanjem minijatura na belom zidu u želji da posmatrač zasebno sagleda svaku od njih. Interaktivost je sastavni deo izložbe i zamišljena je kao razmena između publike i umetnice. Ako publika želi da dobije dvogled koji će im pomoći da detaljnije sagledaju slike, moraće za uzvrat da podeli svoj intimni trenutak.

“Iskra” (“Spark”) is a conceptual work that questions the meaning of details and beauty within moments that swiftly pass us by. The piece is curated on the basis of XVIII miniatures, delivered through watercolor, with each segment carefully selected and detached as a moment of life. These emotional miniatures represent an intimacy through  picked details of memories from photographs (rather, one moment – life itself) whose purpose is to be disasossiated and unrecognizable. Each of the individual fragments evokes a story of the past. As some artists use large scale techniqes to magnify details in order to bring attention to them, “Spark” is an attempt at overcoming the limits of this technique through, paradoxically, reversing the effect in miniaturizing a detail out of a moment’s observation. The curation of the exhibition highlights each past moment, translated into a painting, through presenting the pieces on white surfaced walls with large spaces between each, in order to allow the observer to subjectively experience each piece without the influence of the next. The artist aimed to create an interactive solution to this distance as well; through creating a trade between herself and the audience in which audience members were given binoculars of different shapes and sizes, a magnifying glass or even the artist’s own eyes (her glasses). Thusly, if the audience wished for aid in viewing the works in more detail, the only compensation required was for the artist to be allowed into a moment of the audience member’s own intimacy, through any object that was willfully given.