ivana rackov: CVETANJE / samostalna izložba

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CVETANJE

Prošli smo kroz zemlje u kojima seoski umetnici majstorski povezuju boju i liniju, i liniju sa oblikom, i bili smo bolesni od zavisti!

Le Korbizje o srpskoj tradicionalnoj keramici

(Putovanja na istok, 1911)

Često odbacujemo tradiciju skloni blasfemičnoj misli da kreativni procesi započinju s nama, jer svako vreme ima sopstvene oči i uši, mirise i dodire, forme i boje koje ga definišu. U izvesnom smislu ovakvo razmišljanje nije sasvim netačno. Ono predstavlja neku vrstu stilske matrice koja pomaže da se lakše apstrahuju procesi unutar velike i moćne stvaralačke matice koja oblikuje kreativnu istoriju čovečanstva. Istovremeno, upravo ti okviri služe da se osobeni umetnički duhovi sagledaju u realnoj ravni sopstvenog stvaralačkog potencijala. Ponekad, neočekivano, na uzorku takozvanih malih stvari i svakidašnjih tema. U jednostavnoj plastici, minijaturi, žanru, aksesoaru ili upotrebnoj keramici.

Keramičarka Ivana Rackov na svojoj prvoj samostalnoj izložbi “Cvetanje”, pokazuje upravo kroz dizajn posudne keramike svu neophodnost poznavanja i uvažavanja tradicionalnog kao temelja ličnog iskaza koji nije cilj sam sebi, već je refleks unutrašnje punoće stvaraoca - sretnog spoja znanja, impulsa i promišljanja.

Estetika Ivane Rackov, njen naoko jednostavan, a zapravo tehnički visoko zahtevan postupak, prepoznatljivi su već neko vreme publici rafiniranog, osetljivog ukusa. Sinteza jednostavnih linija, vanrednog ritma u kome se smenjuju rustične i glatke površine, mat i sjajne glazure, boje i minuciozno osmišljeni detalji, daju posudnoj keramici Ivane Rackov redak kvalitet elegancije koja se teško postiže u kamenini u kojoj umetnica najčešće stvara. Iako kompaktne, forme ovih posuda kao da dobijaju neki fini dinamizam, gotovo pokret unutar materijala, zahvaljujući delikatnim bojenim urezima, spiralno uvijenim drškama ili duhovitim detaljima u vidu kožnih pertli. Pokret koji je najavljen kroz vibrantan detalj koji menja primarnu statiku predmeta u korist originalne estetike, kulminira bojom u njegovoj nutrini, pa se čini kao da šolje, činije i tanjiri Ivane Rackov počinju da cvetaju iz neke sopstvene, neodgonetnute, a uzbudljive i očaravajuće inicijacije.

Komplementaran sada već svojevrsnom brendu Ivane Rackov, stilizovanom cvetu maka koji umetnica već neko vreme varira u širokom dijapazonu od keramičkih inastalacija, preko broševa do nakita, ovaj stvaralački koncept jasno sugeriše zaokruženost jednog procesa u kome talentovan umetnik sazreva u stilskoj etapi prve decenije akademskog i strukovnog trajanja. U vremenu u kome se uticaji i zanosi, sumnje i nesigurnosti koji su obeležili godine školovanja prelivaju u empirijsku, stilsku i značenjsku celovitost i autentičnost. Prelomnu fazu u kojoj stvaralac oblikuje svoj iskaz i buduće, iako još senovite, kreativne puteve. Kada se na osnovu njegovog primarnog, umetničkog cvetanja spoznaje koliko često i s kakvim ishodom će se taj proces obnavljati.

Tamara Ognjević,

istoričar umetnosti i književnik

Artis Center, Beograd

FLOWERING

We travelled through countries where rural artists masterfully combine color and line, line and shape, and we were sick with envy!

Le Corbusier on Serbian traditional ceramics

(Journey to the East, 1911)

We, prone to blasphemy thought that creative processes begin with us, often tend to reject tradition, because every period has its own eyes and ears, scents and touches, shapes and colors that define it. In a sense, this way of thinking is not entirely untrue. It represents a kind of stylistic matrix that enables easier abstraction of processes within large and powerful artistic mainstream that forms the creative history of mankind. At the same time, it is these frames that are used to observe peculiar artistic spirits in the real level of their own creative potential. Sometimes, unexpectedly, in a sample of so-called small things and everyday topics. In simple plastic, miniature, genre, accessories or ceramic ware.

Ceramist Ivana Rackov at her first solo show "Flowering", shows exactly through the ceramic flatware design all the necessity to know and respect the traditional as the basis of a personal statement which is not an end to itself, but a reflection of inner fullness of the creator - a happy combination of knowledge, impulses and thoughts.

Ivana Rackov's aesthetics, her deceptively simple, but in fact highly technically demanding procedure, is recognized for some time by audience of refined, delicate taste. Synthesis of simple lines, extraordinary rhythm in which alternate rustic and smooth surfaces, matte and glossy glazes, colors and meticulously designed details, give Ivana Rackov's ceramic flatware a rare quality of elegance that is hard to reach in stoneware clay, in which the artist usually creates. Although compact, the form of these vessels seem to get a decent dynamics, almost like a movement within the material, thanks to colored delicate notches, with winding stems or humorous details in the form of leather laces. The movement, which was announced in vibrant detail that changes the primary static of objects in the benefit of original aesthetics, is culminating with the color of its interior, so it seems like mugs, bowls and plates made by Ivana Rackov start to bloom from their own riddled, exciting and enchanting initiation.

Complementary to now a kind of an Ivana Rackov brand, with stylized poppy flower that the artist for some time varies over a wide range of ceramic installations, through jewelry and brooches, this creative concept is suggesting the roundness of a process in which a talented artist matures in stylistic phase of the first decade of academic and vocational duration. In a time when effects and ecstasies, doubts and uncertainties that marked the years of schooling are transformed into empirical, stylistic and semantic integrity and authenticity. Milestone phase in which the creator shapes his testimony and future, although still shady, creative ways. When on the basis of its primary, artistic flowering is known how often and with what outcome that process will be renewed.

Tamara Ognjević,

art historian and writer

Artis Center, Belgrade