„„... naša umjetnost spada u epohu naučnih saznanja.

Upotrebljavamo metode ove epohe—

analiziramo... Svijet nam je dat kroz viđenje, kroz boju- to je jedan pristup. Svijet nam je dat kroz dodir,
kroz materijal - to je drugi pristup. Prema oba pristupa svijet spada u geometrijski poredak.“ (El Markovič
Lisicki )”

Ono cime sa se bavila tokom boravka i studiranja u Malagi jeste crtez koji je tezio da bude sagledavan iz
vise dijelova koji su cinili jedinstvenu cjelinu. Iz toga je nastalo niz radova sa geometrijskim oblicima koji
su pretezno bili u boji nalgasavajuci plasticnost i suprotnost sa druge strane zivom crtezu koji je bilo
prekidan trakama. Te trake sam kasnije koristila za nove crtzee. Sve nastale linije, forme na trakama bile
su ponovo uptorijebljivane na novim crtezima tako sto sam ih nasumicno redjala po vertikalama i
horizontalama stvarajuci jedinstvenu vizuelnu cjelinu. U pocetku su te trake lijepljene po odredjenoj
semi, da bih kasnije shvatila da cak i nasumicno lijepljenje traka dovodi do odredjene seme u kojoj ima
puno razlicitih varijacija. Dakle, nastojala sam da crtez sadzi odredjenu geometrijsku uskladjenu cjelinu
koja djeluje zajedno sa crtezom i koja je i sama crtez.

Nakon toga, nastala je serija od 5 kolaza spajanjem fotografije i crteza. Indirektno i sasavim nenamjerno
forme na crtezima su podsjecale na zgrade, prozore, na sve stvari koje su oko mene u tom trenutku imale
odredjeni oblik i geometrijski poredak. Zgradu vise nisam gledala kao zgradu, vec kao pravougaonik
odredjene boje, Dakle, upravo kao sto je Sezan svodio sve oko sebe na geometrijski oblike, tako sam i ja
stvari oko sebe pocela da zapazam kao geometrijske oblike sto oni i jesu. Boja je bila od izuzetne
vaznosti jer je naglasavala plasticnost i staticnost te geometrijske forme i suprostnost ekspresivnom
crtezu. Nacin na koji sam ja posmatrala stvari oko sebe u geometrijskom poretku ne bivaju apstahovane
vec u potpunosti dedukovane i svedene na cistu boju i formu linija i oblika. Te forme nasumicno
postavljene djeluju kao jedinstvena vizuelna cjelina stvari koje inace zapazam u svom okruzenju. Stoga,
motiv se artikulise kroz formu koju stvaram. U ovom slucaju, motiv Mediterana se javlja kao motiv boje,
kao motiv raspolozenja i ambijenta boje i forme kao cjeline.

... our art belongs to the era of scientific cognition. We use the methods of this epoch — to analyse… The
world has been given to us through seeing, through colour — this is one approach. The world has also
been given to us through touch and material – that is the other approach. According to both approaches,
the world is in the geometric order. "(El Markovich Lisicki)"

What I did during my stay and study in Malaga, is a drawing that sought to be viewed from a number of
parts that made up a single whole. This resulted in a series of works with geometric shapes that were
predominantly in colour, emphasizing plasticity and opposition to the drawing that was interrupted by
strips on the other hand. I used these strips for new drawings later . All the resulting lines, forms on the
strips were reused for the new drawings by randomly arranging them vertically and horizontally, creating
a unique visual unit. Initially, these strips were glued according to a specific scheme, so that I realized
later that even random gluing of the strips leads to a specific scheme in which there are many different
variations. So, I tried to make the drawing contain a certain geometrically aligned as a whole that works
together with the drawing and which is the drawing itself.

Subsequently, a series of 5 collages was created by combining a photography and drawings. Indirectly
and by chance, the shapes on the drawings were reminiscent of buildings, windows and all the things
that around me, at that moment, had a certain shape and geometric order. I no longer saw the building
as a building, but as a rectangle of a certain colour. So, just as Cezanne reduced everything around him to
geometric shapes, so I started to notice things around me as geometric shapes as they are. Colour was of
the utmost importance as it emphasized plasticity and static, geometric shapes and resistance to the
expressive drawing. The way, I viewed things around me in a geometric order, is not abstracted but fully
deduced and reduced to the pure colour and shape of lines and forms. These randomly placed forms act
as a unique visual unit of things that I normally notice in my environment. Therefore, the motif is
articulated through the form I create. In this case, the Mediterranean motif appears as a colour motif, as
a mood motive and ambience of colour and form as a whole.