menu 1
menu 2
menu 3
menu 4
menu 5
menu 6
menu 7
menu 8
menu 9
menu 10
k s e n i j a . č e r č e line_redprocessespika1description  


Layers are the fundamental structure in my painting. They suggest coexistence of different realities and spaces. It is important to acknowledge that on a painting we see only a small part of the truth. What designates a painting in its archetypal meaning is more a matter of latent meaning than plain visibility. I therefore invent procedures.

The initial ideas for the processes used in my paintings can be compared to body art, land art, video ... With these processes paintings gain a significant background in the field of invisibility. I regard a painting as a trace, as an imprint - its initiation is the process. Actually, the removal of the process is fundamental. In the layer of invisibility the process does not leave emptiness but rather a trace of presence. The focus of perception is therefore moved from plain visibility towards the image background.


proc11 proc12 proc13  




1. THE TRACE OF WATER on canvas was made by earthen mould. I made a pool at certain location in nature (the building process is seen on photos). The actual form of the pool was used as a drawing on canvas. After filling the pool with water and paint I slowly began emptying it. After that only the trace of paint (formed by water) remained on the surface of the canvas.

2. For the Red Painting I used two almost invisible processes. At first I left the painting overnight under a tree so that leaves and bits of bark would fall on its surface. Then I used my own body in a similar way - I let my hair on the surface of the painting. Both, tree particles and my hair were fixed to the surface with latex. Both procedures are similar to each other through VERTICAL FALLING of leaves from the body of a tree on one hand and hair from human body on the other.

3. I started to use my own HANDWRITING as a trace after recognising that the process of its particular for-mation has been going on through my entire life, since childhood. Throughout the time, it has gained its calligraphic importance.

All TRACES (appearing as parts of processes) are considered to be an active principle at perception of paintings. Large vertical formats (size 270x160 cm (108x64 inches)) are used to create physical confronta-tion with a viewer. I am referring to the dialogue between a thought and a painting as a question of anatomy of body. In this case a painting is a form which transfers the feeling of this reality.