The arguments of light
Artists have their path etched in space and time and it is something that is inevitable. Alma Dujmović's path was marked by the seashell. A motif that represents her creative being, a measure of her Mediterranean experience of nature and her artistic identity. She adopted the seashelI as her secure anchorage point, based it on a traditional figurative style of painting and, at the same time, she created a space for postmodern seeking.
Since the beginning, the seashelI carries her core, it is her primary form that has led her and brought her to compression and conciseness.
In the present paintings there are more structures than seashells, on the border between recognizable objects and abstract reduction. The Iyric evanescence of the story was replaced by vibrations and ruptures. For several years she has been preparing the shifts. At first these shifts were recognizable in signs of the stronger use of colours and accentuated structures. These shifts were followed by the accumulation of knowledge and development.
The things that are known in her style of painting are visible today in her paintings, in her synthesis and in the conditions of earlier identifications, in the symbols of memories and in the feelings of the outer world. Around this, she creates and opens a space, putting in layers to compose the structure. To achieve the present synthesis, Alma Dujmović has been travelling on a journey 25 years long and she has never given up on her art. She masters all fields of reality, stylisation and symbols, dealing with the problem of painting, with the demands of the surface, the possibilities of reduction and cleaning in order to crystallize new points of support. Finally a new space opened up for painting without descriptions and for a purified art without any consideration of which code the shape will incline to.
One of the important arguments of her new painting is light. It explains the transformations of small shapes and the wealth of green and brown modulations of the colour tonalities. Consequently, we need to follow the flash of the light, the exchange between full and empty fields, the varying pace of the components of the motifs (vertical, horizontal, diagonal or circular), the rhythmicality of organized fragments and fluid courses available for the light that penetrates from different fissures, explosions, ruptures, opens the space so that it can expand to the edges of the painting and beyond. There are no permanent schemes. The light penetrates into the scenes and reaches the structure, indicating passages that lead to the colour. I was pale, anemic, hardly leaving a trace and now I am attracted by colour, the feeling of the colour and a vivid colouristical dialogue, Alma concludes, comparing her earlier paintings with the most recent one. Now she feels the things that have structure, texture, recess, fractures and the fine net made of sea weeds and lichen. The names of the paintings facilitate their interpretation (Passage, Vibration, The streets of the depth, Morning bounds, Walls, The orbit of the dream, Build into the silence, Afflorescence). All her works were created in 2008, as the notes of visions that appeared like flashes when she was falling asleep or when she was waking up.
She works on several different paintings at the same time, adding and taking, whenever she feels a painting calling her. She starts from objectivity but she also follows the subjectivity of the view. Alma Dujmović connects the motif of engagement with the rigid sections, the strong weaving of the painting and the discipline of the analytical structuring. One thing touches another with the geometricity of emotions. That type of approach works on the level of her intimacy with nature, on the sediments of experience and on the recognition of tradition and modern art. In the essence of her artistic being she carries a rational organization of space. Her artistic pattern is characterized with concentration and expansion, with morphological solutions she creates numerous possibilities to vary the artistic changes. The motif is separated into different bases: motif based on the logic of the painting, motif based on the measurement of the segments, motif based on the rules of composition, however she has not closed herself in the matrix. In the creation of paintings she hesitates on every move and shape, in the arrangement of artistic fields she implements several rules of order and rhythm and she coordinates the separateness of motifs with geometrical and tortuous screen. She also skilfully vacillates between severity and animation. The energy that pulsates in the space of her painting, will add many new chapters.