Žana Gvozdenović 1986.
GRAFIKE SLOBODANKE STUPAR Smisao svojih grafika Slobodanka Stupar nalazi u delanju, u shvatanju umetnosti kao akcije, u živom odnosu sa sopstvenim okruženjem, s prostorom i prirodom, koji se tokom godina menjao da bi se, u sadašnjem trenutku, koncentrisao na vizuelno zahvatanje isključivo onog prostora koji zauzima sopstveno fizičko biće, na posmatranje sopstvenog kretanja i beleženje tragova tog kretanja kao iskonskog obeležja života. Ovde se ovaploćuje ideja po kojoj se opažaj i pojam međusobno oživljavaju i osvetljavaju, otkrivaju kao dva vida jednog istog doživljaja.1 U ranijim radovima vlada istovremeno intelektualan i emotivan odnos prema motivu, prema kamenu. Kamen nije više samo elementarni materijal prirode od koga je priroda sačinjena i od koga se gradi – svoja kuća, svoj svet – već postaje živi kamen. Stvaralačko razaranje kamena. Postupno, sve do stvaranja novog kamena u sopstvenom aktivnom gledanju, kamena u kome su sadržani emotivna snaga, istrajnost, upotrebljeno vreme i iskustvo. Rascep u kamenu predstavlja strah od ataka na jedinstvo svesti i ličnosti. U sazrevanju dela, uporednom sazrevanju ličnosti konstituiše se poetika procesualnosti: beleži se sam proces kao likovni čin uz paralelno traganje za najboljim likovnim stanjem ploče. Slobodanka Stupar insistira R Arnheim, Visual thinking, Faber, London, 1970.
1
PRINTS OF SLOBODANKA STUPAR The meaning of her prints Slobodanka Stupar finds in activity in understanding art as action, in a live relationship with her environment, with space and nature. This relationship has undergone changes through years, becoming presently focused on the visual coverage of the space exclusively occupied by her own physical being, on the contemplation of her own movement and on recording the traces of this movement as a primordial property of life. Therein she embodies the idea according to which perception and concept mutually enliven and illuminate them selves, revealing themselves as two aspects of one and the same experience.1 In her earlier works she displays simultaneously an emotional and intellectual relationship toward the theme, toward stone. Stone is no longer only an elemental material of nature, out of which nature is made and out of which it is being built: one’s own house, one’s own world; it already becomes a live stone. Creative destruction of stone. Gradually, until a new stone is created in her own active looking, a stone containing emotional power, perseverance, experience and time used. The split in stone represents the fear from attack on the unity of awareness and personality.
1
R. Arnheim: “Visual thinking”, Faber, 1970. London.
229