Even Bombs are Not What They Used To Be
by Gordana Stanisic
Every new epoch reminds us of that same old rule: an artist distances himself from his presence very hard, because it is ubiquitous as one of possible realistic situations from his imminent milieu. The times of spontaneous or less spontaneous illusions are long gone.
It seems as if we had accepted this fact in a way. An artist is still present here and now, but he is seldom a strategist of ideology. To say it in a simpler manner, he does not express his idea any longer by means of a nihilist view of his absence on one hand, or by means of a recognisable and engaged language and public messages, activating thus a part of his own habitue.We are gradually getting used to the fact that art does not have to be either a seductive illusion or an exclusively critical point of view. It could have the power to create presentational models according to its own memories, since it has been transposed into a sort of rational fantasy. If there is that in-between experience, then Goran Juresa succeeds in protecting his art from standardized extremes, starting from so called state of primary art of painting, which also understands contemporary way of reacting and modelling recent memories. Goran Juresa turns an immediate stimulation from his own milieu into a new situation which emerges out of drawings.
Then, he structures an abstract and gesture form in the same spontaneous manner from an incorporated sign to a separate entity, where a concrete motif emerges as well as more precise contents on the relation: figural-abstract. A composition field for an intensive communication is created within these balanced opposites. Every segment in this field is active on the surface and it goes inside-outside as well. Speaking of Juresa s relation towards an inscription, his intention is not just to leave traces. He applies coats of a color by hand or directly from a tube, as if he wanted to give a more intimate dimension to everything as well as to transpose everything bodily into everything sensual and extracorporeal. It sometimes reminds us of diary entries and an exciting combination of emotions and mind. Every form has its own defined movements on these intentionally infantile images that sometimes associate Klee s hallmark. Sometimes they associate disguised graffiti that are legible only in their own subjective meanings. In such an associative and organic structure, the most frequent motifs, repeting themselves in the course of an expressive process, were inscriptions on a music paper that were intensive in their complex rhythm. Now these motifs are new semiotic coincidences that are transformed into vehement shapes of heads, flowers and bombs (!) in the very working process.
These shapes constantly puzzle us with (their only visual) imitation of phallus-like forms in an innocent way. Although Juresa s image does not virtually possess an informative character, nor hidden manipulative means of rhetoric in the visual layer, this kind of innocent identification of two different parameters of masculine power enables a possibility of written improvisation. That does not alarm Freudis clinic image that has been employed so many times. But, that separate entity stops being a merely abstract painterly field by means of numerous processes of repetition. It gains a more determined and not always precise narative function deriving from an accidental outcome.
This is one of rare ideas, by means of which Goran Juresa provokes the state of his own reality with some blocked out residues of turbulent times. All other situations result in a more forgiving and human, but a fierce aesthetic organism at the same time, which was linguistically stylized. They do not ignore either reality or illusion. Deep inside them they reconcile that paradox drawn up by Epstein as: the paradox of affirming and refuting a positive world.