Jelena will tear the picture off before others do so, but in the way she herself wants. Playing with segments... Read More
Jelena will tear the picture off before others do so, but in the way she herself wants. Playing with segments of her paintings, she leaves only traces of a whole to a viewer, leaving him in uncertainty. This manipulation gives her work a completely new dimension, in relation to her previous oeuvre as well as in relation to the established perception of an artistic painting concept, which implies the unity of a work of art. This unity, which has been branded as an imperative in classical form theory, Jelena successfully breaks down by choosing a theme such as water, because its nature is such that it survives both as a part and as a whole at the same time. Such a method, which technically represents a field for playing with the relation of the whole and its parts, actually makes a significant contribution to the conceptual space, in which the author manipulates the reception of her own work with a measure of fine irony. This is an attempt to retain control over sense with an allusion to various possibilities that we can make up part of a painting, but so that we are never completely sure about the outcome of such a process. Furthermore, such a discourse is also a critical reflection on the time in which we live and in which there is less and less time for thorough observation, for considering the whole, in which the average attention of an average observer is measured in seconds. Why shouldn't the artist laugh at that?