MAR_2701-min

The Opening of Tatjana Pirović’s Exhibition “Beauty, You Are My Air”

Sea landscape or marina is the favorite motif in the painting of Tatjana Tanja Pirović (Zemun, 1964). She addresses it with many years of experience. Her unpretentious, small bays are splashed with the blueness of color, and details, such as white crests of waves, are clearly emphasized. Her painting is related to intimism to a certain extent, full of love for the object of painting, as well as objective, although on an entirely different realm compared to minimalism, abstraction or (post)modern destructiveness. The realistic feature of her scenes is different from the esthetics of realism. The colors of the sea on the waterfront, lighter in shallow areas and dark on the open sea, are clearly distinguished. Stones are symbolically marked, with a neutral gray color, but the flora of the South – pomegranates, olives and small, picturesque trees are sensually depicted. Little houses characteristic for coastal towns are reduced to white facades and red roof tiles, but the contrast is neither vulgar or naïve; it has an abundance of hidden details and transitions of shades. Sometimes, there is just a single large tree in her paintings, protectively overhanging the seashore, not without symbolism. Perspective is achieved in such scenes, especially aerial perspective, known to Renaissance and Chinese old masters, just like clouds are made to seem bright in a sunny day atmosphere. Everything in her canvases is sunbathed and exalted, the painting glitters or shines with colors, the world is understood without fear or compulsion, it’s always diurnal, not nocturnal or dramatic landscapes. Drawer and professor Dragan Lubarda says that “dan” (“day”) is the most wonderful Serbian word. Her painting is the complete opposite of nocturnal, tragic, demonic and occult fantastic art, although it is not deprived of spirituality. Paintings are like small epiphanies, joyful enclosures to a chastity. Instead of orgies of forms or accumulation (as one of the artistic principles), Tanja Pirović restrainedly, cautiously, celebrates the gifts of landscape, a world thus understood as God’s creation. Although they do have such a function, these paintings are not descriptive, they are essential, they possess spirit and atmosphere. That is why she repeatedly returns to them. It is painting understood mainly as an emotional, not intellectual category, it is sensuality and beauty slowly disappearing from today’s ruthless and unrefined world. There is something virginal and pure in her scenes bathing in light, perhaps mainly in experience, respecting nature expressing itself in her garden. She often paints Boka Kotorska, bride of the Adriatic, as well as the mythical seas of Greece. It is not just painting of emotions and experience, it is painting inviting us to cohabitate with it, to feel it as expression of joy of creation, to get to know it more deeply in the sense of what Germans call empathy (Einfühlung). The titles of paintings introduce us to that mystical dimension (“Moving into Silence”, “And Far Away from Myself”, “I’m Listening”, “Your Footsteps”, “Light”), as well as turquoise, cobalt and ultramarine colors. The sky is heated, yellowish burning, in the summertime, when it’s most beautiful, as the sky over the open sea. The entire painting is in pastel, soft shades, based on an artistically docile contrast of ocher and blue as dominant colors. Finally, here’s an artist who trusts man and the world as the spiritual essence, here’s a painter of the Southern light.

                    Dejan Đorić

Translated by Sandra Gagić

Sea landscape or marina is the favorite motif in the painting of Tatjana Tanja Pirović (Zemun, 1964). She addresses it with many years of experience. Her unpretentious, small bays are splashed with the blueness of color, and details, such as white crests of waves, are clearly emphasized. Her painting is related to intimism to a certain extent, full of love for the object of painting, as well as objective, although on an entirely different realm compared to minimalism, abstraction or (post)modern destructiveness. The realistic feature of her scenes is different from the esthetics of realism. The colors of the sea on the waterfront, lighter in shallow areas and dark on the open sea, are clearly distinguished. Stones are symbolically marked, with a neutral gray color, but the flora of the South – pomegranates, olives and small, picturesque trees are sensually depicted. Little houses characteristic for coastal towns are reduced to white facades and red roof tiles, but the contrast is neither vulgar or naïve; it has an abundance of hidden details and transitions of shades. Sometimes, there is just a single large tree in her paintings, protectively overhanging the seashore, not without symbolism. Perspective is achieved in such scenes, especially aerial perspective, known to Renaissance and Chinese old masters, just like clouds are made to seem bright in a sunny day atmosphere. Everything in her canvases is sunbathed and exalted, the painting glitters or shines with colors, the world is understood without fear or compulsion, it’s always diurnal, not nocturnal or dramatic landscapes. Drawer and professor Dragan Lubarda says that “dan” (“day”) is the most wonderful Serbian word. Her painting is the complete opposite of nocturnal, tragic, demonic and occult fantastic art, although it is not deprived of spirituality. Paintings are like small epiphanies, joyful enclosures to a chastity. Instead of orgies of forms or accumulation (as one of the artistic principles), Tanja Pirović restrainedly, cautiously, celebrates the gifts of landscape, a world thus understood as God’s creation. Although they do have such a function, these paintings are not descriptive, they are essential, they possess spirit and atmosphere. That is why she repeatedly returns to them. It is painting understood mainly as an emotional, not intellectual category, it is sensuality and beauty slowly disappearing from today’s ruthless and unrefined world. There is something virginal and pure in her scenes bathing in light, perhaps mainly in experience, respecting nature expressing itself in her garden. She often paints Boka Kotorska, bride of the Adriatic, as well as the mythical seas of Greece. It is not just painting of emotions and experience, it is painting inviting us to cohabitate with it, to feel it as expression of joy of creation, to get to know it more deeply in the sense of what Germans call empathy (Einfühlung). The titles of paintings introduce us to that mystical dimension (“Moving into Silence”, “And Far Away from Myself”, “I’m Listening”, “Your Footsteps”, “Light”), as well as turquoise, cobalt and ultramarine colors. The sky is heated, yellowish burning, in the summertime, when it’s most beautiful, as the sky over the open sea. The entire painting is in pastel, soft shades, based on an artistically docile contrast of ocher and blue as dominant colors. Finally, here’s an artist who trusts man and the world as the spiritual essence, here’s a painter of the Southern light.

Dejan Đorić

Translated by Sandra Gagić

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