<< DE CONSTRUCTIONE (ABOUT CONSTRUCTION) Sens La Nature, organise les perceptions, exprime-toi profondement et avec ordre, c’est-a-dore classiquement. Emil Bernard, Paul Sezanne, L’Occident 1904. (Feel the nature, organize your perceptions, express yourself deeply and order-ly, that is clasically.) The paintings of Milica Lukic solve themselves by way of Abstraction: the work process eats away, destroys materialization of the painting’s subject, introducing painting as the Painting’s subject. Milica Lukic has, during her work, started off with various Subjects, Bodies, Fragments, Landscapes and Foundations. At the beggining the mere choice of subject matter seemed supreme and intruded as a solution of determinant. Later on, primarily work on the Painting was certain. 1.1. At school they used a model: the nude as the Picture’s subject and the picture of the nude. The contours which mark the elementary defines of the body and space, definitely determinate space as well, that is the meaning of the iconic field. The picture is in the makings afterwards: the adding on, taking away from, painting. And still the painting process hasn’t begun. In spite of the big formats of Milica’s paintings, which her school did not really recommend, the nudes made then swarm in their given frames, caught up in the trap of means and flat rectangular surface predicted for painting. In 1983 the GRAY NUDE questions the further survival of the figure and the surface, that is the figure on the surface. The evenly applied gray colour summons colour in all its’ materialization and introduces the edge, the frame, the angles and the whole painting surface into a unified iconic field. 1.2. While working on the picture TREES in 1985, Milica Lukic gradually breaks loose from the terror of the subject. The subject isn’t seeked for anymore, it is found, and the painter slowly enters and undertakes that of the Finder because the artist dosen’t make but finds, while the Finder is the Original one, R. Schiff 1986. A much less restricted approach towards the subject brings about an even more decisive decomposure of it. Reminiscence remains in the titles, TREES, while in the iconic field landscape fragments appear as the above mentioned presence which articulates the colour flows. Fiercely applied colours in their new existence remember patterns, positions of the branches, despite the light-play which gradually destructs everything. At this point, it truly turns in to the act of painting. Colour introduces vast possibilities of seeing, absolves the rectangular absolute of the Painting, and opens up certain different perceptions and the possibilities of a different expression. 1.3. In 1987-89 the subject appears as that element, now completely clearly, that element which stimulates towards a different organization, organization as a result of a classical expression: in contact with Nature as Cezanne demanded. The stroke which is materialized in the thick paint spread follows the vertical, that is horizontal rhithm of the extending arch. The subject is the organizar of feelings: architecturally based fragments find their solutions in the organic pulsating surface. There isn’t one iconic field, just as there isn’t just one centre in one iconic field. One marked centre. “All my weight is at the edges…” The opening up of a space for Occasion: reds, the glaring ones, amidst thick spreads of black for occasional greens, grays, yellows. Meaning starts from such a shattered piece and expands, extends on to this one, but on to the one before and the one that is coming: “I never know when a painting is finished… than I start a new one and that one somehow completes the previous one…” The exact meaning in all its completeness encompasses the wall and further and further. Clasically. May 1989, in Belgrade J.S. De Constructione, About Construction, Essay by Jelena Stojanovic, From Catalogue of Milica Lukic Show, Pablished by Museum of Contemporary Art, Belgarde 1995, Show of Milica lukic, Salon of Museum of Contemporary Art Belgrade 1989 << |