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Monika Ivančič Fajfar

Catherina Zavodnik - Lirični grafizmi

Slikarka, oblikovalka, grafičarka, fotografinja in pesnica Catherina Zavodnik pri načrtovanju in izvedbi svojih likovnih projektov celostno prepleta vse svoje umetniške strasti in znanja. Različne ustvarjalne tehnike demokratično sodelujejo pri likovni izpovedi, za njeno delo je značilna visoka mera poetičnosti in estetiziranosti.

Avtorica razstavlja serijo Ko voda zapusti dotike, ki je sestavljena iz dveh tehnično in likovno raznolikih sklopov. Prvega sestavlja šest grafik, natisnjenih na pleksi steklo. Podobe dopolnjuje izpisana avtorska poezija. Vizualni in verbalni del sta prepletena in organsko neločljiva v likovnem sožitju: nemogoče je razločiti, ali teksti dopolnjujejo podobe ali podobe ilustrirajo tekste. Fotografska podoba, s slikarsko vehemenco nanešene barvne ploskve in slikovit avtoričin rokopis, večkrat odločno vpraskan v svežo barvo, so enakovredni likovni elementi. Vizualno podobo Zavodnikova dopolnjuje z drugimi pomensko in likovno bogatimi elementi, kakršna je čipkasta tkanina ali organska struktura lesa.

Izpostaviti je treba motiv avtoportreta, ki se dobro sklada s poetično avtoizpovedjo. Vključevanje lastne podobe ima v delu Catherine Zavodnik performativen značaj. To se kaže v uporabi inscenirane in režirane fotografije ter premišljeni kostumografiji. Fotografska podoba, ki je zabrisana ali preosvetljena, kakor bi bila ujeta med porajanjem ali izginjanjem, poudarja romantično zazrtost v preteklost in občutje hrepenenja. Prezrcaljene in podvojene podobe kažejo na umetniško razklanost duše. Grafike so čustveno nabite z likovnimi in besednimi interpretacijami "sladke bolečine", ki jo povzroča hrepenenje. Dvojnost notranjega boja poudarjata rdeča in črna barva, ki simbolizirata veselje in bolečino, življenje in smrt, bližino in samoto, optimizem pričakovanja in grenko spoznanje ...

Dvojen je tudi odnos med vsebino in formo. Čeprav je z vsebino poudarjeno skoraj anahronistično romantično rzpoloženje, so grafike po materialu, tehnični izvedbi in estetiki zelo sodobne. Grafike so natisnjene na plošče iz pleksi stekla, so brez okvira in delujejo kot samostojni objekti. Prosojnost nosilcev pride najbolj do izraza pri postavitvi v prostor, kjer dvodimenzionalne plošče dobijo svojevrstno prostorsko dimenzijo.

V serijo Ko voda zapusti dotike sodi tudi večje število barvnih grafik intimnega formata, ki upodabljajo ženski akt. Velika mera avtoportretnosti in avtopoetike zaznamuje tudi ta dela. Različni telesni položaji z neverbalno govorico pripovedujejo o različnih psihičnih stanjih upodobljene figure. Le-te ubesedijo tudi metaforični podnaslovi posameznih grafik. Mavrične barve se skladajo s pisano paleto razpoloženj in občutij – od spokojnosti, sproščenosti, osamljenosti in hrepenenja do vznemirjenosti, vzhičenosti, zapeljevanja in razočaranja.

Tehnična izvedba grafik Catherine Zavodnik na poseben način združuje najstarejšo lesorezno grafiko s t.i. "giclée" grafiko, ki se razvija šele zadnjih dvajset let. Gre za ponovno digitalno grafično obdelavo odtisov z originalnih lesoreznih matric. Digitalna matrica ima v tem smislu številne prednosti – omogoča lažje eksperimentiranje z barvami in velikostnimi razmerji, neomejeno reproduciranje ter tisk po naročilu.

Monika Ivančič Fajfar

 

Catherina Zavodnik: Lyric 'graphisms' 

The painter, designer, graphic artist, photographer and poetess Catherina Zavodnik comprehensively interweaves all of her artistic passions and knowledge into the planning and execution of her visual art projects. Various creative techniques democratically take part in her visual art expression. Her work is characterised by a high-level of poeticism and aesthetisation.

The authoress is putting her When water leaves the touches (Ko voda zapusti dotike) series on display, composed of two technically and visually diverse sets. The first set is composed of six graphics, printed on plexiglass. The images are complemented by written-out authorial poetry. The visual and verbal part are interwoven and organically inseparable in visual art symbiosis: it is impossible to tell whether images are complemented by the texts or if the latter are illustrated by the images. The photographic image, with a painter's vehemence applied colour planes and the colourful authoress' manuscript, often decisively scratched into fresh paint, are equal visual art elements. The visual image is complemented by other meaningful and visually rich elements, such as lacework or the organic timber structure.

The self-portrait motif, which corresponds with the poetic self-expression well, must be emphasised. Including her own image has a performative character in Catherina Zavodnik's work. That is indicated by staged and directed photography and well-considered costume design. The blurred or overexposed photographic image, as if caught while it was about to unfold or disappear, emphasises the romantic submersion in the past and the feeling of yearning. Mirrored and doubled images suggest an artistic split of the soul. The graphic prints are emotionally charged with visual and textual interpretation of the “sweet pain”, caused by yearning. The inner struggle's duality is emphasised by red and black, symbolising joy and pain, life and death, closeness and loneliness, expecting optimism and bitter realisation...

The relationship between contents and form is also of a dual nature. Even though the contents emphasise an almost anachronistic romantic mood, the material, technical execution and aestheticism are considerably modern. The graphic prints are printed on plexiglass plates, do not have a frame and give the impression of an autonomous object. The bearers' transparency finds its greatest expression when placed into space, where two-dimensional plates gain a unique spatial dimension. 

The When water leaves the touches series also includes a large number of colour graphic prints in an intimate format, depicting a female nude. These works are marked by a large extent of self-portraitism and self-poeticism as well. Various bodily positions with their non-verbal language tell the story of the depicted figure's various psychical states. Those are also put into words by the metaphorical subtitles of the individual graphics. Rainbow colours correspond to the colourful palette of moods and feelings – from tranquillity, relaxation, loneliness and yearning to excitement, rapture, seduction and disappointment.

Catherina Zavodnik's graphics in their technical execution in a special way combine the oldest wood engraving graphics and the so-called "giclée" graphics, developing only for the last twenty years. “Giclée” graphics means a repeated digital graphic print treatment from the original wood carving matrixes. In this sense, a digital matrix holds several advantages – it facilitates experimenting with colours and proportions, endless reproduction and printing on demand. 

Monika Ivančič Fajfar

 

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