A very important part of this year art programme of Budva Theatre City, was the installation "The Phenomenon of Light" by Natasa Djurovic, placed at a little square in Budva's Stari Grad (Old Town).

The installation dedicated to researching of the phenomenon of the Spirit Light, suggests the breaking in of this artist in completely particular art rhetoric. This art deed shows relations from simple to complex, from two dimensional to full plasticity, from elementary conceptual shape to complex structure. In fact, the prime idea of the hidden intimate record, hidden in specific pyramidal shape will result in three-dimensional sculptural and architectural shape with specific colour effects. This sculpture connected with two dimensional project of picture hung on the wall in its near surroundings (the photo record of the destruction of the installation "The Confession", which has been represented this year in French town St. Paul de Vence on the theme of fire), represents the final act consisted of all elements of former, prime and second existence of the deed, thus reminding to the important process of its origin. By her specific expression, Natasa Djurovic showed an evolution of art deed in which its former conditions represent a part of its final act, which could be also its definitive shape, in some different context.

The art installation of "The Phenomenon of Light", by its wholeness as well as by its individual elements of shape and colour and by the use of number three (three angles on each side of pyramid and t hree walls which form the square), offers many interpretations of its symbols. Additional aesthetic quality of this performance represents the concept of controlled formation of specific environmental wholeness. The symbol of pyramid is connected with the center of the world and axis mundi , the original holy mountain, it represents the simples and perfect picture of synthesis , the picture of tendency and improvement to eternal, out of time, divine. The top of the pyramid represents the symbol of the greatest spiritual, hierarchical and initial achievement. It also symbolizes a fire, flame, light and structure of the universe. In this universal shape of specific symbolic significance Mrs Djurovic hide her intimate confession with the idea of truth and sincerity as a way of uncovering and possible approach to uncreated God's light that is, spiritual bliss. Not by chance, the pyramid is painted in red, by the old technique of encaustics (the colour is mixed with wax which also has a specific symbolic significance), while its top is painted in gold as a symbol of the Sun, perfection, heart, spiritual Christ's uncreated light, that is an essential goal.

In art poetics of Natasa Djurovic there is a tendency for a personal, universal language which can connect something traditional, middle aged in art sense and spirit, modern,of these days. By her gift and invention, this artist bravely and modestly entered in art spaces as one of the most important artist of modern Montenegrin art.

Lucija Djuraskovic, art historian,
Museums and Galleries Budva director

    Auto - analyse from the time distance
A pyramidal construction in a separate room evokes/marks the protected zone of privacy, individual memory, possible voluntary isolation and quiet personal enjoyment. Impregnated with the feeling of joyous reminiscences and family security, this creation is constituted - upon its own coordinates of time and space - as a privileged territory, a stronghold of active life.

The easy floating of the pyramidal construction, the sophisticated gradations in color of the glittering, transparent fabric, the delicate melody of the music box are signs of a return to the past. This is not a regression with drama, traumatic evocation, but a memory free of hardship, free of the tension of troublesome experience and equally free of chaotic examination, hysterical unearthing and frantic hoarding of objects. This is a harmony of emotions, a sincerity of thoughts, a refinement of memory, which is collected, measured, selected, and which builds, creates a well-balanced, neat order of simple things, personal values that accumulate the intimate past, that reconstruct the childhood years. Those authentic objects - old rugs, the Holy Scriptures and a music box - as material and audio concretizations of the child's desire, with their regular order in the space, repeat the pyramidal form, intensifying its symbolic characteristics and its "protective" function.

The "external" pyramid protects, encircles, collects the energy, and its light illuminates the privacy, the intimate memory; within it, the "internal" pyramid, made of personal belongings as the material and tissue of memory, is shown, revealed, displayed with sincerity and trust.

Svetlana Racanovic, art historian,
Nansen Dialogue Centre director

    Striving for the Sublime
...Through the principles of Yin and Yang, as the immanent signatures of her artistic and lingual references, she elevates the microcosmic world towards the spiritual centre – The Sublime. The installation ”Striving for the Sublime” presented and awarded at the Herceg Novi Winter Fine Art Salon, envisaged as a continual row of black dice, radiates the kind of energy which is no longer the outcome of a personal confession but a symbol of a universal meaning projecting her philosophical, intellectual and artistic message. The Installation unfolded during the very opening of the Salon by melting the impasto layer of a black encaustic which created various formal structures of each independent segment, thus emanating through the disappearance of spiritual and physical residues of humankind the need to strive towards the greatest, ethereal, spiritual spheres symbolised in golden painted surfaces – on top. This work of art is accompanied by visual and sensual manifestations of scent and sound produced by the dripping of the melting wax onto the surface...

Ljiljana Zeković, art historian,
Art Museum of Montenegro director

In continue