blind fields

andrea petrović the change of perception equals the change of dimensions

THE CHANGE OF PERCEPTION EQUALS THE CHANGE OF DIMENSIONS
Andrea Petrović, blindfolded performative painting (2015)

“How do I converse with external influences? How do I move about, sense things…? How shall I feel and what will emerge from the inner emptiness, culmination, intimacy? How shall I create when I shut off a sense that is fundamental for a visual artist?

I can say that my first experience with a blindfold was intensively instructive, like a boomerang which ricocheted off me and went back. The estimation of distance is different. The relations between the senses of seeing, touch and hearing are so unlike the usual, besides being already complex in and of themselves.

I moved “straight forward”, yet I went left towards a pillar, stepping out of a field with a canvas. I confidently moved my hand and hit a wall, since I didn’t estimate well the distance from a canvas. Caught in a situation, I simply stopped and realised I cannot behave so freely while blindfolded. It seemed as if the passage of time was very slow. When I entered my inner world the time stopped. Then I began to paint for real. Being ignorant of the fact that I was just about to touch a paint, I was surprised by contacting it. It was cold and its tactile structure was different. In the beginning everything was unfamiliar, but as I surrendered, the inner answers poured out onto the canvas. I gradually entered a trance and everything that was visual opened, at first cautiously and then into an extensive freedom of other senses‘ oeuvre. There were moments when I, consciously and willingly, to the biggest extent possible, wanted to apply the cold mass on a coarse endless canvas. There were moments of being guided by pure intuition and letting the body dance though the entire composition of senses and charges which arrived without my control and desire. In a moment of exhaustion the emptiness emerged, which made me want to quit. I continued because of curiosity, attempting to include that influence too, the influence of zero/emptiness. An hour passed by through collision, changes of form and dynamics, comprehension, pondering deep into myself and letting out the matter, represented in another form, onto the canvas. My breath was calming down and a feeling of peace grew by the minute.

In a moment when I took of my blindfold, everything I experienced inside overwhelmed me like a wave, in a mere second. Though my conscious part couldn’t immediately accept the connection between the blindfolded dance and the artwork, another (inner) part overcame any trace of ratio within and, with a boomerang of the experienced, came back. The painting strongly vibrated, as did the inner need for experienced stories. These were the parallel worlds painted by the same person.”


“Kako razgovarati s vanjskim utjecajima? Kako se kretati, osjetiti stvari…? Kako ću se osjećati i što će se javiti iz unutrašnje praznine, kulminacije, intime? Kako kreirati kada isključiš čulo koje je vizualnom umjetniku prijeko potebno?

Moje prvo iskustvo s povezom može se reći da je bilo intezivno poučno i nalik bumerangu koji se odbio od mene i vratio. Procjena daljine je drukčija. Odnosi između čula vida, dodira i sluha su toliko različiti i kompleksni sami po sebi.

Krenula sam “ravno”, a umjesto ravno išla sam lijevo prema stupu i tako izašla iz polja gdje je bilo platno. Prvim zamahom iz moje sigurnosti sam udarila rukom o zid pošto nisam dobro procijenila daljinu platna. U ovakvoj situaciji samo sam stala i shvatila da se jednostavno ne mogu ponašati toliko slobodno ako nosim povez. Činilo mi se da vrijeme prolazi jako sporo, a kada sam ušla u svoj unutrašnji svijet vrijeme je stalo. Tada sam počela stvarno slikati. U neznanju da ću u sljedećem trenutku dodirnuti boju, iznenadio me prvi kontakt s njom. Bila je hladna i njezina struktura je bila taktilno drukčija. U početku mi je sve bilo nepoznato, a kasnije kada sam se prepustila, unutrašnji odgovori su izišli na platno. Polako sam upadala u trans i sve vizualno se otvorilo kroz oprez, a pritom toliku slobodu novih opusa drugih čula. Postojali su trenuci kada sam svjesno i željeno, koliko je moguće, htjela nanijeti hladnu masu na hrapavo beskonačno platno. Pojavljivali su se trenuci samovođenja čiste intuicije i prepuštanja tijela da pleše kroz cijelu kompoziciju osjeta i naboja koji su pristizali bez moje kontrole i želje. U
trenutku iscrpljenosti nastupila je praznina, zbog čega sam htjela odustatida. Nastavila sam zbog radoznalosti ne bi li uključila i taj utjecaj, utjecaj ništice/praznine. Sat vremena je prošlo kroz sudaranje, promjene forme i dinamike, sagledavanje, poniranje u sebe i izbacivanje materije koja je bila u drugom obliku predstavljena na platno. Dah se smirivao polako i mir se u meni sve više osjećao.

U trenutku kada sam skinula povez sve doživljeno izunutra me je preplavilo poput vala u jednoj sekundi. Iako svjesni dio mene nije mogao odmah prihvatiti konekciju između plesa s povezom i djelom, jedan dio (unutrašnji dio) prešao je svaki ratio u meni i s bumerangom proživljenog se vratio. Slika je vibrirala isto toliko jako kao i unutrašnja potreba za doživljene priče. Bili su to paralelni svjetovi koje je oslikala ista osoba.”

VIDEO

December 29, 2015