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Dzoja (Gioya) R.Gavela's Drawing Theater
Dzoja (Gioya) R.Gavela incarnates her artistic Weltanschauung in the most essential artistic discipline: the drawing, which is the triumphal arch spanning the Door of Art (C. Ceninni, 1390 - after Pierre Rouve). Hegel, on the other hand, admired the "unhindered flow of the totality of the Spirit through a skilled hand" to be condensed in the tangible Zeichnung. Her "visual opinion" (R. Arnheim) predominantly stems from an author-signed "logic of phantasy" (G. Vico).
The intentional, structural and semantic order of her work is based on the allusive rhetoric of iconographic signs belonging to the visual code, in which the external-mimetic is in the shadow of the internal-psychological (of the subconscious and archetypal of Lacan's Speech of the Other). Hence Gavela's drawing graphic expression could be said basically to form, in pen and in India ink (without wash-drawing), an anti-mimetic figuration of a poetic or expressionistic surrealism, comfortably imbued with Apollinaire's intoxicating apology of "Onirisme" (also with his idea of art as the interpreter of dreams and vice versa, of dreams as the hermeneutics of art).
The experience of the plurality of the world and illustrations of the political games of the grown-ups (Dr. Valeria Heuberger: Donau abvarts) or of literal games ( (Dr. Ursula Pia Jauch: Homoludens) is automatically placed by Gavela in the dramaturgy of the monodrama or in the lapidary (plastic) mise-en-scene of emphasized action dinamics and hyperbolized persona dramatis. She experienced part of it in the realistic (Aristotelian) key of empathy (Einfiihlung) like the actors of the Moscow Bolshoi Theatre with a predominant part: a critical distance mainly of anti-malicious humor (in the key of Brecht's anti-metaphysical theater of alienation and of the Commediadell'arte).
In the exegesis of Gavela's drawings, on Hartman's Hintergrund and in the wake of Panofski's iconological method, we discover the exciting dynamics of life, Husserl's Lebenswelt. Thus Gavela lines up with those researchers (because art is not only "beauty", but also research, cognition "permanent aesthetic subversion") who by their high humanism correct the highly radical abstract scientificism and philosophical abberations while fundamental is the one named by Heidegger oblivion of the being.
Kosta VASILJKOVIC art critic (AICA)
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