FOREWORD by Višnja Slavica Gabout, art historian
When art professionals today find themselves outside of their profession and beyond the narrow circle of people with more or less agreed visual thinking, evaluation and action, are often caught. Because then you are faced with access lokovnom work (ie, in a broader context, the visual arts) grassroots audience, and he is often different than expected. Thus, if the audience wondered which actual works of art they chose as a valuable and you would prefer the visual story, yet they are rare (the true art connoisseurs and gourmets, and informed individuals), pointed to a piece of contemporary art-on installation, the media clip, or video, or digital-art. Or in some works of abstract art, in a collage, or a ready-made assemblage, which normally have long occupied their places in museums of modern art. Many, however, would not be referred to the works of classical relative orientation, where the motive is known, but the author interpreted: terse, or divorced, or dematerialized light color dissolved. Most of the time, surprisingly, still be a favorite painting, traditional motifs recognizable figuration (but not the current "new figuration", transcribed from the built-in media perception, rather than those of classical figuration, with long since surpassed by optical laws). The decision is, thereby, bringing most of the "key" emotional liking, and the list of "favorite motifs" are almost always the motifs of flowers and native landscape. Because many people, from sentimental reasons (and insecure in new perceptual shifts and Contemporary Art) close to them motives like to see firmly with one hand immersed in a literal, representational, reproduce reality (if it is something beyond that, the most common question is - "What this represents ? "), the other in an idealized emotionally-softened figurativeness, richly spiced pitoresknošću, ilustrativnošću a nostalgic and romantic.
There are moments when the audience found the individuals, an autodidact, a natural talent for art, working alone, by instinct and feel. Which is still far ahead of them the world of professional practicing visual art for which more and they want to retrieve. But they are simultaneously very distant from that world dopadljivosti romanticized and exalted romance, and the universal, banal kitsch grassroots, from what I'm running and turning to face. They already feel the vibrations of the upcoming, new enthusiasm and new emotion. A new type of rapture before the motif and a new inspiration. In addition to some different movements within, which seems to predict the future of the creative storm and calm, fire and sunset, creative vizijei struggle. When professional artists on the eve of such a "person on the exposed", he sticks to his hand. And when that person before hand and took a few art professionals, then this is certainly proof of the existence of artistic talent and imagination, but at the same time the very author and copyright obligations certification and active art "pulsing". It's this very interesting situation (as it is for each painting professionals is always an intriguing check whether he was right or not) happen with Jasna Dragun, a painter who has educated herself, as she knew, and knew how, by painting almost since childhood. Painter who has so far, in all techniques, has made lots of pictures and drawings, exercising and releasing the hand, and building in harmony with itself and with its intimacy, regardless of external influences, one of his personal visual world. World based on traditional, but also the artistic intimnome. For a variety of impressions that have touched her sensitive artistic eye and always ready to hand. Thus, judged that the Jasna Dragun, although self-taught, carries one spark of art that would persistently nurturing and daily work and grinding could razgoriti the creative flame and perhaps intriguing, impressive opus, the four "artists" of various orientations were recruited to this author, during her first solo exhibition, jumped with all corrective interventions that she had guidelines for future. Starting from the selection (which is dominated by watercolors and drawings, with a few acrylic), through the presentation in the catalog to the exhibition of. Here no one is missed to Jasna Dragun best managed watercolors - the airy, fluid technique, where her brush, painting flowers, glide on the trackpad and bathed in diluted, razlivenoj color, but expertly capturing the form where appropriate, and where they should not, let that vanishes in the white background. On the other hand, are dear to her drawings and they are good at coping drawing landscapes and rural panoramas. Here, tell stories, there is a lower association and the like to meet reality and illusion, memory and vision. Creative, the government line, which shows the liberated hand, and the line free "laying" and does not veer as dictated by the imagination.
What to say at the end? We are witnessing a case of many gifted artists who knew how to keep the beaten path, but also those who become tired. Are we in the case of Jasna Dragun were right and it found racial painters who will now, when we "turn on the lights," still know hard, but challenging path of the true artist, only to see it.
Višnja Slavica Gabout, art historian