Cosmology Of Discarded Things

Cosmology Of Discarded Things
Slavica Obradinović

In her exhibition at the Sales Gallery Belgrade, Nataša Galečić explores the possibilities of painting and its perception in the era of advanced technology and global communication. The exhibited drawings and installation enable us to experience the art and inner being of the artist whose creativity is defined by continual travelling. Her artistic expression as well as a tendency to develop has mostly been formed by her insight into other cultures, aesthetics and social values. She controls space, material, color, drawing, play of light and shadows with ease, as if she is playing. It is this play that gives her works the uniqueness and freshness, directness and innovations, which are all qualities that move the observer’s soul towards new experiences. Non-intrusive and subtle, Nataša’s works open doors through which we see spaces that were hidden to us. By illuminating the nooks where play, zeal, emotion and beauty are hidden, Nataša Galečić directs the vantage point, opening new horizons.

It is possible to position the art of Nataša Galečić into the context of contemporary trends but it would certainly limit her essence and steer to a mistaken path of contemplations. As she says, her core inspiration and incentive is, as well as her link with the art of other artists, the art of Leonid Šejka. Although separated by decades during which significant changes took place in the aesthetics, art, society, values, their vital bond has survived and is reflected in their disregard for the material. Valuation of the material and vulgarity has accelerated towards its zenith in our contemporary age. Throughout the history of civilization negation of the material has had its place as it pertained to people of sublime spirit, sensitive feelings, moral and intelligence. In today’s world, it is extremely difficult to find individuals who still pursue these principles as well as those who acknowledge, support and value them. Nataša Galečić is one of the rare few who openly aspires to the non-material and rejects its priority in both her life and her art. This stand is also reflected in her installations. They are created for each exhibition separately and after it is over they are taken away, disintegrated, they are not left complete. The installation created for a specific space is destroyed, the original ceases to exist. Thus, the artist constantly constructs and deconstructs her works giving them a new form every time. What remains of them is a video and photographic record, but that media certainly cannot record the very spirit of the exhibition. She uses discarded objects to create her installations. Nataša carefully collects, chooses and cleans them. She uses them to build images of our contemporary age that relentlessly remind one of a landscape, castle, city or a children’s playground full of beauty, fairy tale like features, carefreeness and playfulness. At second glance, attention is drawn to the elements the world is made of – discarded, used objects, the garbage of the contemporary consumer. Although these objects represent all that pollute and destroy our planet and all that live in it, there is no dirt on them, the beauty of their design, color, former aesthetic, and utility value still radiates. Materials found at garbage dumps and scrap yards were often used in assemblages by Leonid Shejka, and discarded after completion, viewed as short-termed and worthless by the artist, which is yet another link between the two artists.
Nataša Galečić’s drawings represent a separate artistic whole. Using the line she transposes onto her drawings the fine art aspects and idea that originated in the installations. The use of color has a special role in them as well as the details with which she defines the abstract images giving them a realistic framework. The successful composition of the drawings convey to the observer the story and spirit read out from the installation. The original titles of the works: Wirebeat, Red Mountains Growing in Gardens, Milky Mountains Breaking Apart, Looking for a Spot Under a Palm Tree, Greenhouse add much to their fine art expression directing our thoughts towards Nataša’s aspirations. These titles have a poetic and more profound meaning that associates with film and music. The title itself initiates thought, expresses an idea, tells a story. Warmth, fragrances, mood, far away worlds, playfulness and optimism reach the observer enriching the intellect and aesthetic experiences.

Nataša Galečić expands the possibilities of perception in her art introducing the observer to new visual experiences and revealing unexpected aesthetic ones. Her art has a beauty not stifled by the everyday, thus successfully initiating us into a field of illusions and enabling a phenomenological journey through space by transposing personal experiences.