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Essentially
Moon reflection
Essentially, there is flower, changing in kaleidoscopic variations and always creating new images. All changes are captured, substained within the circle of the moon. Everything indicates the art of Japan. The artist transfers, subtly but forcefully, the enormous wealth of that Far- Eastern culture. The speech of the flowers is silent but eloquent …The following passages will attempt to designate the basic elements but will still remain voicless. The essential will be recognized only in a direct encounter with the works . Let us dream about the transitory and consider the wonderful follies of things.
The Moon
He was only two years old when, in accordance with the law of eternal repetition, he asked for the Moon … to reach for, to catch the reflection of the Moon on the water, the dream of each child, but also a Budist parable: water is the phantom movement of
Moon reflection
Essentially, there is flower, changing in kaleidoscopic variations and always creating new images. All changes are captured, substained within the circle of the moon. Everything indicates the art of Japan. The artist transfers, subtly but forcefully, the enormous wealth of that Far- Eastern culture. The speech of the flowers is silent but eloquent …The following passages will attempt to designate the basic elements but will still remain voicless. The essential will be recognized only in a direct encounter with the works . Let us dream about the transitory and consider the wonderful follies of things.
The Moon
He was only two years old when, in accordance with the law of eternal repetition, he asked for the Moon … to reach for, to catch the reflection of the Moon on the water, the dream of each child, but also a Budist parable: water is the phantom movement of
Seeing is believing or
Story about love, beauty, pleasure and woman
Reading of Ivana Popov`s works involves stepping out and a certain shift of focus. The sight of the East, the exotic, the ornamental and the unknown provoke excitement and their interpretation from the europocentric view point may seem, at least, adventurous: getting trapped in an attempt to interpret a work of art from a different culture which means rejection of set values and presumptions.
Flower as the basic pattern keeps both the thematic ant the structural consistency of the works. Taken symbolically a flower signifies the passive principle, it is an image of the unfolding of the universe, a model of a spontaneous, unaffected yet perfect art. Flower patels, on the other hand, are the basic ingredient that the collages are made from.
Golden and silver leaves, sparkling foil leaves and powder, butterfly wings and flower patels are appliqued on handmade paper. Flower mandalas made in this way refer to a subtle, refines microstructure of a garden. It is truly a look taken at is
Story about love, beauty, pleasure and woman
Reading of Ivana Popov`s works involves stepping out and a certain shift of focus. The sight of the East, the exotic, the ornamental and the unknown provoke excitement and their interpretation from the europocentric view point may seem, at least, adventurous: getting trapped in an attempt to interpret a work of art from a different culture which means rejection of set values and presumptions.
Flower as the basic pattern keeps both the thematic ant the structural consistency of the works. Taken symbolically a flower signifies the passive principle, it is an image of the unfolding of the universe, a model of a spontaneous, unaffected yet perfect art. Flower patels, on the other hand, are the basic ingredient that the collages are made from.
Golden and silver leaves, sparkling foil leaves and powder, butterfly wings and flower patels are appliqued on handmade paper. Flower mandalas made in this way refer to a subtle, refines microstructure of a garden. It is truly a look taken at is
feelings and ideas, while the Moon, and not its dimtorted
image, is the Truth.(3) I like to cross the river in
bright moonlight and watch the Moon, trodden
over and kicked by the feet, explode in
hunderds of cristalline drops.
The Flower
Means: to become the flower, to be
flower, to blume like flower and enjoy
the sunshine and rain… the flower
speaks to me and I know all the
secrets, joys and sorrows … the
flower quivers within me … by
knowing the flower I have learnd
all the secrets of the univers, all
the secrets of the mine self, which
has always escaped my pursuits
because I had doubled into my
own self, by losing myself in the
flower, I have learnd both my self
and the flower.
I cannot say where the
unconsciousness dwells. Is it in me? Is
it in flower ? The artist uses paper,
paint, brush, and flower … and tries to
create from the unconcious part of her
being. When this unconsciousness genuinely
indentifies with the cosmic unconsciousness,
the works are authentic. She artist paints, she
creates a new flowe.
It would be interesting, had we sufficient time, to
garden, an ovidian ilocus amoenus; or long lost Eden. And
it the same way in which the garden is a reflection of
the World a mandala collage is a compressed
image into which different meanings can be
inscribed.
More than obvious referring to the
Japanese tradition and motifs as
referent system coexists with
openness, translucence and
transparency. There are no ideas
that are imposed on us or a priori
given concepts, which opens a wide
area for interpretations and
reading of her works.
Suggesting a multitude of
perspectives and points of view
the layers of the collages imply
playing with ideas from different
standpoints and changeable
nature, the one that is always
different. Microforms are being
transformed into an intricate,
complex and tactile surface by
overlapping, joining and interweaving
of different layers which, then,
themselves become a basis for further
intervention. This introduces an observer
into an ecstatic contemplation on pleasures,
love and delight in nature. Flower collage
reflect the ability of art to transform, purify and
create a safe field of pleasure.
The art of Japanese Nogaku drama is based on a hint
investigate more deeply the laws of composition and detail, constituted by the virtuosos of flowers. We would discover our connection to the Leading Principle (Heaven), the Subordinated Principle (Earth) and Conciliatory Principle (Man), and each flower arrangement that did not embody those principles woud be considered fruitless and dead. Great importance has been attributed to the application of flower in its three different aspects: formal, semi-formal and in- formal. The first indicates flowers on te festive dress of a ballroom, the second is part of a casually elegant afternoon dress, and the third stays on an enchanting negligee of boudoir.
The legend about the beginning of Zen in India says. Once upon a time Sakiamooni was preaching to a group of his disciples on the hill of the Holy Vulture. In order to explain the essence he refained from a long verbal exposition, but simply raised in front of those gathered a bouquet of flowes presented to him by one of his layman followers. Not a word come from his mouth. Nobody understood what he meant by that, except for the old, revered Mahaksiapo, who gently smiled at the Teacher, comprehending the sense of the silent but eloquent lesson. When he noticed the smile, Buddha opened his golden mouth and solemnly declared: "I own the most precious treasure, spiritual and transcedental, which I hand unto you this very moment, my revered Mahaksiapio."
The space
In front of me there is a vast square room, full of unknown sweetish, smell, smell of Japanese incense, and when the sun shone powerfully, the light that penetrated through the paper was pale like the moonlight, for a couple of minutes I could not see anything expect the glitter of gilding in a gentile mist. When my eyes grew accustomed to darkness, I noticed on the screens covered with paper, that surround the shire on three sides, forms of a multitude of cut flower silhouettes against the mistly white light. It was Buddha shrine.
The legend about the beginning of Zen in India says. Once upon a time Sakiamooni was preaching to a group of his disciples on the hill of the Holy Vulture. In order to explain the essence he refained from a long verbal exposition, but simply raised in front of those gathered a bouquet of flowes presented to him by one of his layman followers. Not a word come from his mouth. Nobody understood what he meant by that, except for the old, revered Mahaksiapo, who gently smiled at the Teacher, comprehending the sense of the silent but eloquent lesson. When he noticed the smile, Buddha opened his golden mouth and solemnly declared: "I own the most precious treasure, spiritual and transcedental, which I hand unto you this very moment, my revered Mahaksiapio."
The space
In front of me there is a vast square room, full of unknown sweetish, smell, smell of Japanese incense, and when the sun shone powerfully, the light that penetrated through the paper was pale like the moonlight, for a couple of minutes I could not see anything expect the glitter of gilding in a gentile mist. When my eyes grew accustomed to darkness, I noticed on the screens covered with paper, that surround the shire on three sides, forms of a multitude of cut flower silhouettes against the mistly white light. It was Buddha shrine.
rather than on a fully performed action in the same way in which the concise forms presented in this work are only clues, starting points, points which enable entering the underlying complexity. Thus the image becomes a simulation of garden, a sort of landscape collage(1) that appears to be a fields which has been singled out, a framed section, a look at, a fractal. The highlight of the whole even would be the moment when one moves from a concise sign field into multiplicity. Inherent sensitivity and minute approach reveal a feminine sensibility and devotion. The structure of the works reminds one of embroidery or weave within which fragility, eroticism and sensitivity are interlaces.
Both the artist and the observer need to be permanently open and active in the process or reaching yugen, the peak aesthetic experience. As the idea of yugen indicates the importance of a visual experience i.e. a spontaneous act of seeing, it suggests an aesthetic experience does not mean that "I see a work of art" but that seeing in itself changes the very "I". The point is not that one enters a work of art but that on entering is one is changed.(2) 1: In conversation with Jelena Vesic
2: Eliot Deutsch,Studies in Comparative Aesthetics, Honolulu,
1975
Magnificant, refined things
A white clock over the violet flowery waistcoat. Lotus flowers floating in the moon light. A massage tied to the small stalk of a pink Chinese carnation in full bloom. Crushed ice covered with flower syrup in a new silver bowl. An urn with the remains of a holy man. Wild pink flowers. Duck s eggs. Irises…
Both the artist and the observer need to be permanently open and active in the process or reaching yugen, the peak aesthetic experience. As the idea of yugen indicates the importance of a visual experience i.e. a spontaneous act of seeing, it suggests an aesthetic experience does not mean that "I see a work of art" but that seeing in itself changes the very "I". The point is not that one enters a work of art but that on entering is one is changed.(2) 1: In conversation with Jelena Vesic
2: Eliot Deutsch,Studies in Comparative Aesthetics, Honolulu,
1975
Magnificant, refined things
A white clock over the violet flowery waistcoat. Lotus flowers floating in the moon light. A massage tied to the small stalk of a pink Chinese carnation in full bloom. Crushed ice covered with flower syrup in a new silver bowl. An urn with the remains of a holy man. Wild pink flowers. Duck s eggs. Irises…