15. 01. – 08. 02. 2019
Tina Konec, a new generation painter, has spent a number of years compiling treetop view drawings. She applies the pencil or ink wash technique to white or black paper canvases, creating nuances of black and silver strokes. Treetops or twigs protruding from stems often escape the format, and yet they call forth, together with image layering and shaded elements, a game of associations. The artist says that in her monochromatic drawings people can see palm wrinkles, space from a bird’s-eye view, lichen attached to an old building, the crumpled clouds, and more. The selected sections hold an infinite order and balance, while her creations seem almost tangible. When strolling around in nature, the artist photographs things that will later serve as drafts for her work. She does not attempt to trace the photographs onto her drawings, to mirror reality; instead, she uses her interpretations and novelties in traditional techniques to create pieces of art where nature is depicted in its very own, convincing way. She has routinized her need to draw. It helps her unburden and find freedom, which is also clearly reflected in her art. She refrains from allowing influxes from the environment to seep into her work. Her desire is to be herself, and not to parrot others. She intuitively comprises her intricately drawn works into series, which are linked by coherence and coexistence between forms.
With her In the Fog exhibition she presents her newest series of works, which follows the progression of one day: it begins with a sleepy January morning wrapped in fog, behind which the sun occasionally shows its rays. This idea came about when the artist was piling art works of larger formats one on top of another. Drawn elements were showing through the paper, creating an extraordinary visual effect. One autumn morning, while observing the fog, a constant companion of those chilly days, the artist suddenly envisioned her future works in the mist, something that had until then represented a visual riddle. In its very core, the drawing preserves the artist’s appreciation and respect for nature, the sensibility of which she captures on paper. With their apparent universality, her works point to the fragility of impermanence. The artist, with a meditative process, portrays a self-sufficient, untamed nature, the diminishment of which will be, due to the ubiquitous concept of perpetual growth and progress, felt by mankind. Both nature and art do not merely represent a place for a privileged withdrawal and respite from reality, but also a gathering place for new ideas, in-depth reflections, values and hopes.