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.

Strpljenje Čestitost Spokoj Vera Sloboda Stvaranje Sreća Čežnja Nevinost Skromnost Istrajnost Ljubav Potpunost Dostojanstvo Vedrina Snaga Spremnost Podrška Odgovornost

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.