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Istrajnost Ljubav Potpunost Dostojanstvo Vedrina Snaga Spremnost Podrška Odgovornost Iskrenost Sreća Čestitost  Spokoj Čistota Moć Sloboda Harmonija Radost Zajedništvo Zaštita Večnost Odanost Nada Ponos Vernost Zdravlje Borba Prijateljstvo Strpljenje Otvorenost Sigurnost Pobeda Čast Jednakost Postojanost Skromnost Čežnja Razumevanje Iskustvo Nevinost Stvaranje Vera Zasluga Smisao Plemenitost Nežnost Znanje Blaženstvo Stabilnost Saosećajnost
 
Ornament (lat. Ornamentum- ukras) predstavlja najstariji i osnovni dekorativni element u likovnim umetnostima. Originalno značenje ornamenata bilo je pre svega simbolično a tek potom dekorativno, pa se može govoriti o jeziku ornamenata. Funkcije ornamenta su istorijski uslovljene i kasnije se praktičke osobine ornamenta gube i prelaze isključivo na estetsku funkciju.Ornament odražava svojevrsnu predstavu naših predaka o elementarnim i uočljivim silama. Sa različitim varijacijama ornamenata susrećemo se u svim civilizacijama i vremenima u kojima on predstavlja osobeni kultni i kulturni elemenat ili je pak preuzet od neke starije ili razvijenije kulture.
   
 
Svoju inspiraciju pronalazim u tradiciji i kulturnom nasleđu, koje stavljajući tematski u centar svog interesovanja preispitujem raznorodnim likovnim disciplinama. Varirajući motive biljne ornamentike, kroz formu srcolika, stvaram nove vizuelne i estetske doživljaje. Akvarel sa vezom na japan papiru i jajčana tempera na platnu su mediji kojima transponujem svoju stvaralačku zamisao i doslednost ’’ženskih umetničkih disciplina’’ koje se odlikuju strpljivošću i upornošću.
 
Paul Klee
On Modern Art
                 
Distinguished Ladies and Gentlemen!
   
If I now take the floor, standing close by some of my own work, and speak about that work, even though the work ought to speak for itself in its own language, I confess to a certain unease about whether there are sufficient reasons for my saying anything at all, and also whether I will say it in the right way.
For even though as a painter I feel myself to be in possession of the means, my own means, to set others in motion so that they will head in the same direction in which I feel myself driven, I do not feel as though I have been given the gift of words, at least not with the same sort of assurance, words by which to point us toward the proper paths.
Yet I console myself by noting that it is not my talk in isolation that addresses you, that the talk is meant merely to complement the impressions you yourselves will gain of my images; perhaps my words will provide certain coinages that otherwise might go missing.
If I should succeed in this, to some extent at least, then I will respect the good sense of my having taken up the assigned task of addressing you.
   
In order to avoid even further the odium that is captured in the expression, "Artist, make art, don't talk," I would like to volunteer some observations on the creative process; during the period in which a work receives its shape this process goes on more or less preconsciously. In my own subjective view, that is the only real justification for speeches by one who makes art, namely, to alter one's focus by finding new ways to observe. In other words, to take some of the pressure off the formal side of things, which is consciously overburdened, by developing a new kind of intuition, and to try to emphasize somewhat more the content aspect. Reestablishing the equilibrium in this way would be exciting for me, and it would bring me much closer to a confrontation with art by means of words and concepts.
However, I would be thinking too selfishly here; I would be forgetting that most of you are probably more at home on the content side of things, less so on the formal side. And so I cannot really avoid saying something to you about these formal things.
I would therefore like to offer you a peek into the painter's workshop, and if we can do that, we will come to understand one another in other respects as well.
Some sort of common ground must exist between artists and others, a place where we can approach one another mutually, a common ground on which the artist need no longer appear to be a matter quite apart.
Where he may rather appear as a creature who, like you, did not ask to be dropped into this multifarious world of ours and who must make his or her way through it all just as you must.
   
Who may be different from you merely because of the specific means he has been given to rescue himself, so that sometimes he may be more fortunate than a person who cannot create at all, a person who can never arrive at the point where he can give things real form and in this way save himself.
   
Paul Klee delivered this lecture on January 26, 1924, at the Jena Kunstverein exhibition of his works.

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Harmonija je ono što povezuje malo i veliko, daleko i blisko, snažno i slabo, skriveno i objavljeno.., svest da jedno bez drugoga nije moguće. To nije definicija jer iz harmonije izviru sve definicije. To je iskustvo sveta.
Kultura harmonije, ravnoteže i mere. Priroda ima neumitnu logiku svog kruženja, gde su najmanje i najveće od jednake važnosti. Misao i delo harmonije put je na kome se to može postići.
U davnini, zgranut nad čudima, tajnama i lepotama sopstvenog sveta čovek je dugotrajnim posmatranjem i pokušajem tumačenja pojava oko sebe gradio, tokom milenijuma, svojevrsne sisteme vrednosti, pravila i simbola.
     

Čovek Drvo Kraljica Žena Lovac Kralj Devojka Zagrljaj Mornar Muškarac Dama Kupačica Žena Drvo Veliki Par Momak Princeza Vitez Mislilac Majka Poljubac Odmor Molitelj Princ Cvet

   
   
U svojim radovima preispitujem harmonične odnose i znakovno simboličan jezik likovnog izražavanja. Polazište i inspiraciju nalazim u svojim životnim iskustvima kao i u svome okruženju; mogu reći da su ovi radovi svojevrsna ‘’figuracija’’, tj za njihovo polazište uzet je čovek. Skulpture  su izvedene u livenim metalima, aluminijum i mesing, koji mi omogućavaju da istaknem njihovu ‘’štapičavost’’ i postignem ‘’uklopivost’’ sa raznorodnim životnim okruženjima.   
           
Letter From Sol LeWitt to Eva Hesse
Dear Eva,
It will be almost a month since you wrote to me and you have possibly forgotten your state of mind (I doubt it though). You seem the same as always, and being you, hate every minute of it. Don’t! Learn to say “Fuck You” to the world once in a while. You have every right to. Just stop thinking, worrying, looking over your shoulder wondering, doubting, fearing, hurting, hoping for some easy way out, struggling, grasping, confusing, itchin, scratching, mumbling, bumbling, grumbling, humbling, stumbling, numbling, rumbling, gambling, tumbling, scumbling, scrambling, hitching, hatching, bitching, moaning, groaning, honing, boning, horse-shitting, hair-splitting, nit-picking, piss-trickling, nose sticking, ass-gouging, eyeball-poking, finger-pointing, alleyway-sneaking, long waiting, small stepping, evil-eyeing, back-scratching, searching, perching, besmirching, grinding, grinding, grinding away at yourself. Stop it and just DO!
From your description, and from what I know of your previous work and you [sic] ability; the work you are doing sounds very good “Drawing-clean-clear but crazy like machines, larger and bolder… real nonsense.” That sounds fine, wonderful – real nonsense. Do more. More nonsensical, more crazy, more machines, more breasts, penises, cunts, whatever – make them abound with nonsense. Try and tickle something inside you, your “weird humor.” You belong in the most secret part of you. Don’t worry about cool, make your own uncool. Make your own, your own world. If you fear, make it work for you – draw & paint your fear and anxiety. And stop worrying about big, deep things such as “to decide on a purpose and way of life, a consistant [sic] approach to even some impossible end or even an imagined end” You must practice being stupid, dumb, unthinking, empty. Then you will be able to DO!
I have much confidence in you and even though you are tormenting yourself, the work you do is very good. Try to do some BAD work – the worst you can think of and see what happens but mainly relax and let everything go to hell – you are not responsible for the world – you are only responsible for your work – so DO IT. And don’t think that your work has to conform to any preconceived form, idea or flavor. It can be anything you want it to be. But if life would be easier for you if you stopped working – then stop. Don’t punish yourself. However, I think that it is so deeply engrained in you that it would be easier to DO!
It seems I do understand your attitude somewhat, anyway, because I go through a similar process every so often. I have an “Agonizing Reappraisal” of my work and change everything as much as possible = and hate everything I’ve done, and try to do something entirely different and better. Maybe that kind of process is necessary to me, pushing me on and on. The feeling that I can do better than that shit I just did. Maybe you need your agony to accomplish what you do. And maybe it goads you on to do better. But it is very painful I know. It would be better if you had the confidence just to do the stuff and not even think about it. Can’t you leave the “world” and “ART” alone and also quit fondling your ego. I know that you (or anyone) can only work so much and the rest of the time you are left with your thoughts. But when you work or before your work you have to empty you [sic] mind and concentrate on what you are doing. After you do something it is done and that’s that. After a while you can see some are better than others but also you can see what direction you are going. I’m sure you know all that. You also must know that you don’t have to justify your work – not even to yourself. Well, you know I admire your work greatly and can’t understand why you are so bothered by it. But you can see the next ones and I can’t. You also must believe in your ability. I think you do. So try the most outrageous things you can – shock yourself. You have at your power the ability to do anything.
Sol

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