EVA PETRIČ (SLO)

EVA PETRIČ (SLO)

Secret Garden on Delta Waves and subDUCTion Zone

With the installation TRANShomoPLANTATION, the versatile artist Eva Petrič convinced the international jury in 2017 to become the Grand Prix winner of the 6th International Festival of Fine Arts in Kranj. The festival was marked by the theme Symbol, Sign and Color, which we also meet in other works of the artist. As the Grand Prix winner, she presents herself now at the Mala galerija of the Fine Arts Artists’ Society Kranj and in the basement of the Town Hall, at the Museum of Gorenjska.

The artist is displaying symbolically colored and thoughtful, complex work. This requires a great deal of intellectual participation from viewers, since we are flooded with impressions of diversity and variety that we can barely follow. Multimedia artist Eva Petrič takes us into her world. There, she expresses herself through various new media, which she intertwines amongst each other. This is how we encounter photography, video, installation, performance, and literature as well.  One could say that this diversity of media offers her different approaches, with the help of which she wants to communicate with the viewer and pass onto him/her the thoughtful conceptual concepts that, at that particular time inspire her, take over and mark her. Above all, one can see in her work an interest in understanding and exploring different processes, relationships and situations. These can be part of the human as well as the environment and their mutual relationship, be it a conscious or unconscious state. To some extent they stem from her academic path, which is not only related to visual art, but also to psychology.

At the Mala Galerija, she presents her “Secret Garden on Delta Waves”, interweaving three different series of her work. She takes them from their original context and embeds them in a brand-new story. Conceptually it refers to the condition of deep sleep defined through delta waves pervading our brains in this state. This is the state of unconsciousness, the stage of pure relaxation and regeneration, where we could have access to information in our subconscious. At the same time this is a kind of a state between life and death. It is here that the question arises, of what is happening with the individual at this stage. On the other hand, there exists a parallel with the natural process, which unfolds in the world of flora. A rose with its flower in bloom is characterized by the phenomena of awakening. When it wilts, dries and brakes off, it leaves only its stem, dry leaves, thorns and a memory, or the shadow of what has been and will re-occur upon the stage of sleep and regeneration. Thus, we have a circular process that is constantly renewed until the deaths of both finally occur. The mysterious action of one and the other is placed in a metaphorical garden. There unusual things unfold, which constantly fascinate us and surprise us. On the other hand, they do not disclose the secrets that we so desperately want to uncover. They remain only as our imaginary perception, which we are encountering while searching for answers.

In the “Blooming thorns” we encounter photos that deliver a sense of blur, duality, and above all, saturation. In front of us, collages are exhibited, whose presence marks the exhibition like  the trail of a red thread traveling through the entire exhibition. The multi-layered work includes site specific photography with the female figure as the central figure, above which the lace network extends. The later becomes more prominent and outstanding, and at other times it withdraws, subtracting and merging with the photo itself. The presence and role of the female figure and its significance becomes a puzzle, as well as the symbolism of individual elements such as the lace, the golden apple, the bitten apple and discarded horns with an animal skull. All this calls for a biblical story. The titles of works and layouts lead us into the world of transitions, searching and cognition, and into the intermediate stage where the body floats between the earth and the sky. Fusion, passing and entrapment, are like thought patterns that intertwine in the static and dynamics of the blurry and obscure. The artist is an indispensable element in the role of the main actor and the one who seeks. This is the continuation of Rose Buds in the Rose Garden series, which changes the technique of the work. The material of the lace becomes not only visible, but also the tangible property that intervenes from its space. Photographs in addition to the cutout of the painted face or figure of the artist in a certain position in which she holds the apple and candy, contains a detail of the rose, the rosary, the horns and the skull of a dead animal and a bird cage. If we sum up the story, the central medium is also the artist, and everything that is around her is an attribute and symbolic element. The female figure, in conjunction with the flower wreath, can be interpreted as a rose in the garden, as a symbol of fertility, seduction, blossoming, and finally death marked with horns and skulls and black lace that can replace the stem and thorns of roses. A cage with a flower, however, shows life in captivity and yearning, restricting all the networks that stand between them.

The third set of “sleeping deltas” is the final stage in our circular process, which is created through manipulation and interference in photography. There is a memory of what was and what is left; the shadow is recorded in gray shades. It is like a space within a space that is split up and multiplied. The same thing happens with the figure in it. This contour suggests the primordial, with color present till the last stage, till it becomes a unique transitional image. It passes from a darker to a lighter tone that slowly loses itself in the depth of spatial transformation. Division, multiplication and transitions are like a state in an intermediate undefined world, which we are not aware of and do not understand, but we relive it over and over again, where the physical, psychological, emotional and spiritual plane flows. All this is hidden in the Secret Garden on Sleeping Deltas.

The second part of the exhibition in the basement of the Town Hall of the Museum of Gorenjska relates to the title “subDUCTtion zone”. The term is known from geology and refers to the lowering of tectonic plates, or the transformed fracture, which is due to the movement of the earth’s crust, as a consequence of the action of forces. The release of this energy and tension could be linked to a positive – negative pole and fatal attraction, and ultimately only the role of an installation that is subordinate to the treatment of love. Parallels between connecting all-natural processes are also shown.

Hematoma series continues the conceptual derivation of human skin and its protective role, which, if damaged, can result in a hematoma, from which the name also derives. The reaction or change is here as a central aperture around which the components of old recycled, inherited, donated, discarded and purchased lace accumulate and connect. Thus, the combined fragments within the two hanging, floating lace networks at different levels, the artist illustrates the skin of the ocean and of the sky. As if being living creatures, they are roaring and trembling in their pain. Lace is their body, its organs, which in their diversity, perfection, deformation, fragility and lightness remind us of the differences that are connected and intertwined in a mutually interdependent whole. And this completes with an audio-video projection, where two sound-emotional tones are played: “I love you” and “I hate you”.

The Installation subDUCTion zone plays with the idea of ​​portraying love in a unique way. The emotions that are built by mutual relations and influences, on the one hand point to a rising tension before the explosion, and on the other hand can be the consequence of a search and critical action. It is not limited to human beings, instead it reflects actions and the attitude to things and beings with which one coexists. The conclusion is the thought, that one loves and also hates, for without the one there would also not be the other and vice versa. The audio work emphasizes the hope that communication is still possible and inevitable in solving and liberating ourselves and our world.

Melita Ažman

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