When following its deepest artistic impulses, regardless of a successful career and impressive achievements in other, more pragmatic aspects of life, one decides to devote to painting completely, passionately and without delay, then, it could be interpreted as an act of courage, but also as dealing with uncertainty. When that person instead of security and consolidation of the acquired, comfortable positions chooses absolute freedom given by art. Since the art brings an unexpected pleasure, newly discovered, and besides that it initially picks up successes on the international art scene, then we wonder whether it is possible in this time. And it is possible, the artist Gordana Tomic provides the most obvious example of this.

The works of a young artist, subjected only to the pure painting instinct, exclude any theoretical determination that involves the precise, an almost bureaucratic placement in drawers with various "inventions".  However, for ease of understanding, images can be classified typologically in the border area between expressive and associative painting. They are painted with elements of seen, experienced, but primarily from the author's interior, luxurious worlds. With direct, spontaneous work approach, the artist of distinctly Mediterranean sensibility, records personal experiences, emotional states, travelling, meeting people and experiences from different backgrounds especially in the cycle of works inspired by urbanity of US cities. An important stronghold for his work is found in Theosophy and meditation, as  Musil said, joining sense of reality with a sense of possibility. Such an approach allows her to express the totality of her own life, both the outer, representative, and internal, mysterious life.

By specific painting process performed quickly enough to preserve the spontaneity of the manuscript, but sufficiently concentrated that spontaneity does not distort painting culture, Gordana makes the act of painting transparent. In some works, like Enformelists, she combines paint with sand, lava and mother-of-pearl in order to emphasize the tangibility (relief) of paintings and affirm substrate itself as a place of visual real-world events.  Moving rhizomatically through various painting techniques, unencumbered by rules and academic discipline, the artist releases a painting of narrative, descriptive elements, making it an event arising from the "inner necessity" (Kandinsky).  The dominant visual element in her works is the color that indicates the development of Gordana's painting in the direction of expressive expression. In creating her world of colors, she gives it new forms and new shapes.

A form expression is correlated with the color, if not specifically, it is always correlated conceptually. Her paintings, like the American Expressionists, become product of developments of colors on the canvas, but also suggestive clue of the actions of the artist and her "dialogue" with canvas. So, one could register sumptuous chromatic harmonies whose energy explosion spreads from the center to the periphery of the painting that as liberating events, depending on the psychosomatic condition of the artist move in the registry from a dramatic gesture to a lyrical musicality. Using the color that like cosmic burst from the time of creation of the world, both, plunges violently into the space of canvas, but springs from it, too, Gordana creates forms that hypnotically force observer in self-absorbed drowning in the picture.

In this exhibition, carefully arranged paintings, make a visual semantic circuit that contains coded messages. Their decryption resists the logic that operates conventional notions of place, time, proportions and perspective, and it is possible only in a personal key, just as it is promoted in dream readers or alchemical manuals. By elusive processes of transformation of the material into the spiritual, the artist has managed to transmit the worlds from ephemeral, fleeting, fragile zone into the sphere of eternal, pure, transcendent...

The author's sincerity, embodied in the unreserved giving of herself in every painting stems from the need for saying out the most personal and empathetic communication with her Sweetheart. This should be the need of each of us, but we often repress it in time of the weird mixture of lethargy, breakneck acceleration, sensationalism and instant culture. In that case, it is more precious and more stimulating to see works of Gordana Tomic facing the deepest interior and a fine, exciting contemplation of the world.

 

         Ljiljana Karadžić, 2015.