Sunset, 100x150 cm, 2013

Sunset of Gordana Tomić

Painting from the title of this article created in 2013 belongs up to its format to the largest and up to the quality to the best works of a young artist. Perhaps one could say that it has programming  character in its creation because it summarizes its research, hopes and desires. Heinrich Klotz wrote about "the process of realization of a potential", contained even in the first abstract compositions of Wassily Kandinsky. If  the first abstract paintings of Czurlanis, Kazimir Malevich and Piet Mondriaan are based on the beginnings of modernism, then paintings of Gordana Tomic are based on the end of modernism.

The process of the destruction of the externality on the painting ran in two directions, from Kandinsky over Tachisme and Abstract Expressionism and from Cubism to Minimalism, geometric and NeoGeo abstraction in the nineties. Painting as this key image of Gordana Tomic show that the first direction of abstract art is challenging, daring and alive. In its entity, the externality, catching sight of nature are more radically rejected or more precisely, the concept of image has been expanded as a term of Micro and Macro-cosmos. Sunset causes force roaring, energy winching, flows streaming; as the Sun, it is filled with life and potential though melancholic, as our civilization is on the wane. It can be considered as a complete abstraction that only the name stores it in the real world, and it is located midway between the first abstraction of Jackson Pollock’s reversal of gravity and sense of composition. Painting Sunset does not discard the nature, but a realistic representation of nature in detail, from the Sun, the atmosphere of calm; only the key elements are abstracted: the impression and expression rather than literal imitation. Painting has two zones, upper and lower, making it still traditional (heaven and earth) but everything else is freed, subordinated to the dictates of the artist, her freedom that at the end she could talk and testify about her internal experience.

Abstract art in the twentieth century had at the beginning its endpoints in monochrome, completely black or white paintings (Malevich, Alexander Rodchenko, later Ad Reinhardt), paintings that became objects, things without colors and meanings. Gordana Tomic returns into abstraction the painting as a symbol, which refers to the outer and the inner world, the painting as unity, synthesis of the seen, experienced and expressed. Therefore, Sunset is deeply human work, some kind of personal drama, terrible confession or amazement of the forces of the world. That's why this painting returns us to the challenging in art understood in a postmodern way.


(Writen by Dejan Djoric, 2015)