Critics |
| Biljana Vukotic ... It is for sure that aesthetic researches conducted by Tijana Dujovic Liscevic reflect a state in which the balance between the concept and its realization, i.e. between the research of techniques and the clearly built concept, has been established. Departing from the traditional values, Tijana bet the path for the new impusles in the treatment of the form and combinations of different materials (ceramics, metal) ... In her
wish to surpass the language of ceramics, to show
movement and reach contents Tijana Dujovic Liscevic
creates abstract compositions which form displays of
vivid associative characteristics. Natasa Nikcevic ... In the art of the 90s as well, in which the plurality of styles can be stated as a fact, some of the artist have crossed the border that distinguishes the medium of drawing and the medium of sculpture. One of such authors is Tijana Dujovic Liscevic. She understands art as an active research and the consequences of such a way of thinking are sculptures-objects and drawings-objects made in ceramics. ... The space in the sculptures-objects is shown from the outside and the inside and it has metaphysic connotations. ... The
works of Tijana Dujovic Liscevic distinguish with an
exquisite artistic articulation. In the center of their
poetics lies a subjective view; we can even talk about a
new kind of intimacy which is not sentimental in its
essence but is introspective, concentrated to the
internal feelings, memories, moods of the artist. Vesna Todorovic ... Her
interesting objects simple from the outside richly
decorated from the inside with various applications. Even
with the armatures of some other materials (wire), in the
play of associations crate a fantastic combination of a
discrete sensuality and almost material spirituality. The
interwoven structure of the object plays an important
role at the core of the story itself. This mixture of
craft and imagination reveals a real artist and her
dedication to the truth of life. Jovan Dujovic ... Tijana’s works are the result of a manual and spiritual intelligence of real artist. Her art can not serve for any other purpose except - art. Those who were lucky to follow Tijana’s creative development, which has lasted for ten years, remember three phases in her work: the sea flora and fauna; the cliffs of the canyons in her homeland; the houses bent by wind and the flying boats. This phase
of crazy bicycles in the manner of Leonardo amazes with
its force and simplicity. A play of the lines and of
shadows can also be fond in her work. Her drawing does
not seem to lie imprisoned in terracotta but naughtily
dives out from the form and plays with the space. Her
works emit the same restlessness from which they were
made.
Ana
Popovic TIJANA DUJOVIC - LISCEVIC “
Rolling through Time “ An excellent, fresh and bold exhibition of the ceramic sculptures, installations and drawings has brightened the artistic February of 1999 plunged in the wintertime drowsiness. Everything in this exhibition (from the ceramic panels through the ceramic sculptures and hanging sculptures - metal installations, and also raw canvases with the drawings on them squeezed between the two large glass surfaces) represents a continuous play, a line drawn, a circle and … of the circle. The topic as simple as possible - a bicycle - remained open enough to include everything: the symbol of the circle - alias of the bicycle wheel: the symbol of the line - the body of the bicycle and the impulse of the wheel. The line produced by quick, free movement of the copper oxide on the white clay surface which after been fired, turned into metal black gently relief-like trace, is extended by black metal wire protruding from the boundaries of the panel and the sculptures and effectively piercing the white walls of the gallery. The artistry of the exhibition itself deserves compliments because it represents an exhibition which attracts not only those people interested in art but also casual passers-by. It looks as if somebody’s hand, with the brush dipped into the black color, passed throw gallery touching the walls, floor, even ceiling, creating a dramatic scene and still retaining the basic orientation towards white color of the white surface. The red terracotta color (the ferric sulfate on the stoneware) in which the big and small triangles of the bicycle seat are painted produces an artistic effect to this play of black and white. It is the color of terracotta that gives warmth and human dimension to the black drawing on the white surface. The motive of the bicycle and its highly simplified artistic presentation gives to the exhibition the tone of merriment, sincerity and childish play, a memory of childhood and that irrecoverable feeling of carelessness while one rose on an old bicycle down a small cobalt road. The
freedom that Tijana Dujovic Liscevic showed in her work,
using one and the same motive in several different
techniques, produced a striking result of continuous
thought. Maybe the best parts of the exhibition are
ceramic panels and ceramic sculptures which remind of
Picasso’s simplicity and suggestive force. Hanging
installations and drawings, however, add to the basic
graphic meaning of the panel the tone being at ease and
free-thinking. With this conception of the exhibition,
the artist exercises her courage in running away from the
ceramic or any other medium. This also means that she
freed herself and her future artistic expression from the
boundaries of her specialty, ceramics, and even from the
boundaries of the term “applied art”, which often
applies that those who are real masters in one discipline
should not deal with other disciplines not even the
vastness of the “pure art”. This exhibition proves
exactly the opposite: one and the same thought can be
expressed by different media and that can only add to the
quality and fullness of the entire artistic impression.
That reason, together with the other artistic qualities
of the author, makes her February exhibition a good
example for all those artist who have inclinations
towards games and courage to express their game in all
ways they find attractive. At the end of this century, at
the climax of the artistic experiments in all disciplines
and destruction of all the barriers among the artistic
media: multimedia and interdisciplinary projects
represent maybe the only correct direction for new
generations of artists.
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