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Jovan Despotovic about Aleksandra Kostic Dimitrijevic
After all the media, technical, stylistic and poetic changes that have characterized the world of fine arts during its tumultuous past in this century, now at the very end of the century, a question imposes itself again, for the numberless time, the question of appearance and meaning of that immanence of aesthetic phenomenon in the modern creation of the work of art. Not so long ago within plastic arts the imperative of the new and original has finally been exploited and replaced by dispensability of the different and quotable, while to the place of the idea of the project came the pluralistic paradigm perfectly harmonized with altered characteristics of the current epoch, which indisputably forms the link between the outgoing century and the century incoming, between the old and the new millennium.
Artists who create in such conditions nowadays, and who are definitely intensely interested in participating farther with their artwork on the wave of active linguistic innovations in the medium by which they express themselves, display the customary ambivalence, even the ambivalence of the nature of their own work.
Among the authors who cross the threshold of artistic life this has become a rule, like a generation mark. In the works of Aleksandra Kostić, a graphic artist by formal education, identical creative points in objectless complex can be instantaneously identified easily. In the essence of her imagery handwriting stands a recognized gestural working method which forms customary plastic spectacle of abstract expressionism, i.e. it is the expression of physical, decisive swing of hand which in work leaves traces by scratching, squeezing out of a tube or spilling liquids, etc. Thereby we should bear in mind that this method is not performed only in the process of drawing on paper or plexiglass but also in lithographs without the change of intensity of visual energies flowing into them.
But, that is only one side of the form character in the case of Aleksandra Kostić. The other side can be seen in her explicit need to shift the objective limits of traditional drawing and graphic medium in two basic directions. At first that is a desire to move beyond the physical boundaries of paper by extended motion of the swing lines or stretching the coloured stains over the frame of the plate. Next, there is the unbalancing of the optical boundaries of these works of art by specific setting of work by which the perception of the spectator is greatly broadened and more accountable. To be precise, she exhibits her drawings and graphics on the plexiglass plates in specially constructed boxes, and their transparency enables observation in a variable, multilayered configuration of spatial order. Consequently out of one stationary, invariable appearance of the work rises a visually active spectacle that changes in the course of the audience moving. By this means the goal was achieved, the goal to spatialize the fecundity of those two-dimensional works by the sense of the third dimension, in fact to elevate their entire visual condition to a lot higher level, i.e. to more obligatory involvement of aesthetic apparatus of the spectator.
The general direction of the visual creativity during the nineties was going in the direction of the transformation and intensification of the appearance of works of art as they were gaining optical intensity by using the most diverse means, attractiveness and singularity of plastic contents. New works of art of Aleksandra Kostić are based upon that need and are realized as far as one of the most remarkable and convincing examples.
Jovan Despotović
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