MA Gallery is pleased to present the works of renown Croatian artist Deša Vlahutin and Moldovan artist Irina Kara. Irina started painting in her childhood. As an architect, a tutor of architecture at the Technical University and interior designer she is a successful artist. She always wanted to be an artist in order to express herself.
Irina was first an abstract painter and continued to create expressive and colourful works throughout her life that are widely appreciated by her collectors and other people. Irina sees her work as a living organism. She says: Blank canvas is ‘talking’ to me and sometimes dictates what should appear. Rarely do I depict something that was planned in advance. Mostly, the idea comes to me during the work itself. Sometimes the process reminds me of a battlefield between me and the canvas. Truth comes from the opposition and when the conflict ends the painting emerges. Irina’s artistic language is similar to music. The beauty of the form is not immediately visible but appears in the movement of the brushstrokes on the canvas.
The sequence in Deša’s art is an integer sequence whereby each number is the sum of the two preceding numbers. It all begins in the form of a number, forming the creative idea of the space for the sculpture and elevating the simple mathematical sequence to an expression of an aesthetically pleasing principle, thus making the sculpture completely balanced feature of the image known as a Golden or Divine Ratio. It allows the spectator to see the picture faster and without difficulty. It is an open invitation to the depths of the sculpture. Deša uses rectangular pieces and organises them in the way of bringing the movement to the sculpture in the form of shades which change due to the movement of the spectator, thus making the sculpture related to the spectator’s position. Moving shades make the sculpture alive. All this comes from the idea of reinterpreting Fibonacci’s principle – the Rule of Thirds. Deša presents 7 sculptures based on the same principle, but different in their movement. The material of her work is engineered wood reflecting that even in the source of material there is no artist.
The displacement of meaning must be seen as the direct consequence of the use of industrial materials.
Deša used manufacturing materials and industrial fabrication in her work but left the images behind. She challenges the idea that artists show us our world in a drawing, painting, or sculpture, each its own unique original. Instead, she adopted the techniques and materials of the factory and showed the world of industrial and yet divine beauty. We can only marvel at them or think they are the artist’s way of communicating with us, but we don’t have the need to comprehend its meaning or its significance.
To put it simply: Sculptures are what they are. Nothing more, nothing less.