MOLITEV ŽALOVANJA, iz serije izdelkov ČUSTVENA AKSFISIJA, za razstavo ČUSTVENA AKSFISIJA, 90 kosov na les, 35x20 cm IN A4 FORMAT, mixmedia, 2025/26
ANALYSIS OF THE ART SERIES EMOTIONAL ACFSPHISIA PRAYER OF MOURNING The presented series of works represents the author's exploration of the themes of memory, loss, death, inner transformation and silence. The starting point of the cycle are photographic images of angel statues from cemeteries, which the author digitally transforms into new, independent artistic images. Through the processes of mirroring, fragmentation, duplication and symmetrical composition, completely new visual structures are created that go beyond documentary photography and become independent works of art. At the heart of the creative process is the exploration of the boundary between the figurative and the abstract. The recognizable motif of the angel gradually disintegrates, body parts are duplicated, faces disappear or change into symbolic forms, whereby the author erases individual identity and creates universal images of the human experience of loss. In this way, figures are created that are no longer individual angels, but archetypal images of silence, mourning and inner peace. Symmetry plays a special role, not used as a decorative element, but as a carrier of meaning. The vertical axis divides the images into two worlds – life and death, presence and absence, body and spirituality. This axis creates a sense of balance, meditation and ritual, but at the same time also causes a feeling of unease in individual works, as familiar shapes become unrecognizable and acquire a new symbolic dimension. The visual language is based on a limited color scale of warm sepia and black tones, which emphasize the timelessness of the motifs and associate them with old photographs and historical memory. The high contrast between the light figures and the dark background directs the viewer's gaze to the central motif and reinforces the feeling of silence and contemplation. The material is also an important element of the cycle. The images are printed on wooden substrates, the natural structure of which remains visible in some places. Wood, as an organic material, establishes a dialogue between nature, time and transience and additionally emphasizes the theme of the cycle. In combination with the hand-finished black surface, a distinct materiality is created, connecting photography, graphics, collage and object. Compositionally, the series is based on the repetition of vertical formats, and occasionally expands into horizontal compositions and triptychs. Such an organization creates a sense of rhythm and connection between individual works and emphasizes that it is a unified artistic cycle and not a collection of independent images. The motifs of hands, closed eyes, wings, columns, flowers and empty faces act as symbols of the inner world of man. The absence of facial features or their decomposition does not mean a loss of identity, but a transition to a universal symbol in which every viewer can recognize themselves. The works therefore do not only speak of death, but above all of the process of mourning, memory, transformation and acceptance. The author's approach combines photography, digital manipulation, symmetrical reconstruction, collage procedures and transfer to a wooden base, which is why the series transcends the traditional boundaries of photographic art and is positioned in the field of contemporary interdisciplinary visual art. The entire cycle functions as a unified visual narrative, which through minimalist color language, pronounced symmetry and symbolic language raises questions about the relationship between life and death, presence and absence, and the possibilities of internal transformation after loss. The series does not thematize death as an end, but rather understands it as a space of silent memory, contemplation and a new beginning. Precisely because of the consistently developed concept, recognizable authorial language and pronounced symbolic power, it represents a rounded contemporary artistic whole with a clear personal poetics. LINK TO THE ANIMATION https://www.youtube.com/watch?v=ndJi9oLNm-0 The presented works originate from segments and individual frames of the author's video animation Emotional Asphyxiation. Independent artistic images were created from selected sequences of the video work through the process of digital transformation, fragmentation, symmetrical reconstruction and artistic processing. In this way, individual moments of a time-limited medium transform into autonomous works of art that preserve the emotional intensity of the original video animation, while at the same time developing their own symbolic and conceptual narrative in the new medium. The exhibits allow for various ways of installation. They can be arranged linearly or form various spatial compositions, such as a cross and other geometric or symbolic shapes, depending on the exhibition concept.
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