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In the exhibition “Give Me a Sign” the artist Dusa Jesih shows her newest works to the public. They are a continuation of her distinct geometric painting which has been refined into minimalist imagery and simple symbols. The radically stylised motifs of her latest works re-establish a universal visual language in all its ambiguity without clearly determined meanings.
A dictionary tells us that the term sign stands for an agreed upon image displaying a certain meaning. Dusa Jesih follows this concept almost literally, because in her latest painting cycle she focuses on simple graphic signs which have a direct and effective in influence on the viewer’s perception. Her works remind us of universal symbols, which as a part of agreed proto- cols, regulations and conventions became a feature of our everyday lives in the form of traffic signs, map indicators etc. Global society has been compelled to create a universal visual language which can surmount linguistic and cultural barriers. With regard to the profusion of visual messages in our public, physical and virtual world the artist rejects the explicit and unambiguous delivery of messages as is the practice of the mass media and the popular culture. Instead she embraces a radical stylisation of the image.
The paintings of Dusa Jesih are the ultimate response to our visual culture which is subject to the flashy and aggressive influences of untamed entrepreneurship. This is why her paintings allude to trademark logos or ideological symbols of frenetic consumerism. However, the artist builds her unique visual narrative through the spirit of minimalism and geometry. These mathematically precise paintings are a reflection of life in the age of machines and digital media which are much more accurate in depicting and multiplying images than a human hand. At the same time they also reflect the absurdity of her own artistic gesture; she creates her images with the help of a computer programme and then hand- copies them onto the canvas. With their amorphous texture and ensuing precision these paintings defy graphic uniformity. Therefore, we can truly experience them only through a direct contact. (Miha Colner)
In the exhibition “Give Me a Sign” the artist Dusa Jesih shows her newest works to the public. They are a continuation of her distinct geometric painting which has been refined into minimalist imagery and simple symbols. The radically stylised motifs of her latest works re-establish a universal visual language in all its ambiguity without clearly determined meanings.
A dictionary tells us that the term sign stands for an agreed upon image displaying a certain meaning. Dusa Jesih follows this concept almost literally, because in her latest painting cycle she focuses on simple graphic signs which have a direct and effective in influence on the viewer’s perception. Her works remind us of universal symbols, which as a part of agreed proto- cols, regulations and conventions became a feature of our everyday lives in the form of traffic signs, map indicators etc. Global society has been compelled to create a universal visual language which can surmount linguistic and cultural barriers. With regard to the profusion of visual messages in our public, physical and virtual world the artist rejects the explicit and unambiguous delivery of messages as is the practice of the mass media and the popular culture. Instead she embraces a radical stylisation of the image.
The paintings of Dusa Jesih are the ultimate response to our visual culture which is subject to the flashy and aggressive influences of untamed entrepreneurship. This is why her paintings allude to trademark logos or ideological symbols of frenetic consumerism. However, the artist builds her unique visual narrative through the spirit of minimalism and geometry. These mathematically precise paintings are a reflection of life in the age of machines and digital media which are much more accurate in depicting and multiplying images than a human hand. At the same time they also reflect the absurdity of her own artistic gesture; she creates her images with the help of a computer programme and then hand- copies them onto the canvas. With their amorphous texture and ensuing precision these paintings defy graphic uniformity. Therefore, we can truly experience them only through a direct contact. (Miha Colner)
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Constriction Painting

Dusa Jesih

Slovenia

Painting, Acrylic on Canvas

Size: 39.4 W x 39.4 H x 0.8 D in

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About The Artwork

In the exhibition “Give Me a Sign” the artist Dusa Jesih shows her newest works to the public. They are a continuation of her distinct geometric painting which has been refined into minimalist imagery and simple symbols. The radically stylised motifs of her latest works re-establish a universal visual language in all its ambiguity without clearly determined meanings. A dictionary tells us that the term sign stands for an agreed upon image displaying a certain meaning. Dusa Jesih follows this concept almost literally, because in her latest painting cycle she focuses on simple graphic signs which have a direct and effective in influence on the viewer’s perception. Her works remind us of universal symbols, which as a part of agreed proto- cols, regulations and conventions became a feature of our everyday lives in the form of traffic signs, map indicators etc. Global society has been compelled to create a universal visual language which can surmount linguistic and cultural barriers. With regard to the profusion of visual messages in our public, physical and virtual world the artist rejects the explicit and unambiguous delivery of messages as is the practice of the mass media and the popular culture. Instead she embraces a radical stylisation of the image. The paintings of Dusa Jesih are the ultimate response to our visual culture which is subject to the flashy and aggressive influences of untamed entrepreneurship. This is why her paintings allude to trademark logos or ideological symbols of frenetic consumerism. However, the artist builds her unique visual narrative through the spirit of minimalism and geometry. These mathematically precise paintings are a reflection of life in the age of machines and digital media which are much more accurate in depicting and multiplying images than a human hand. At the same time they also reflect the absurdity of her own artistic gesture; she creates her images with the help of a computer programme and then hand- copies them onto the canvas. With their amorphous texture and ensuing precision these paintings defy graphic uniformity. Therefore, we can truly experience them only through a direct contact. (Miha Colner)

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:39.4 W x 39.4 H x 0.8 D in

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The presentation of a painter, whose works hold a critical view of the social, cultural and political spheres of our existence, but in a little less conventional (fashionable) way for the present times. The goal of my art is to provide a critical overview of our social, cultural and political spheres in a slightly unconventional (trendy) manner. I am more interested in self-reflection on the phenomenon of alienation I am witnessing as it goes (contradictorily) hand in hand with globalisation rather than focused on any political engagement. I feel like sheer existence is draining our last bits of energy in these crazy times. We are straining ourselves with precarious work, fighting for our dear life and in the process forgetting about ourselves and our interpersonal relations. To live in unity and harmony, peace and love now seems an outdated and illusionary hippie idea that is so far from reality. I am trying to face this experience and internalise through the leitmotif of my last cycle of paintings called Unity. Using "as little words as possible" in minimalist "gestalt" language that allows for some artistic expression and space for the world of each individual, I am trying to transform unity into a hybrid of a warning (traffic) sign and icon "logo(therapeutic) type". Although I follow the principle of "spot, line, surface in space" and focus on the basic elements of fine art, I tend to use colour, shape and composition to explore tensions in relationships between colours on the canvas as well as optical effects of more or less discernible forms. My goal is to bring to the fore the foundations of meanings, emotions or narratives. My paintings feature similar visual signs that form new conceptual units in space, i.e. Gesamtkunstwerk, that open up new perspectives and encourage dialogue. My view of the final part revolves around a (harmonious) attitude towards space, possibly a very clear and brutal concrete area in all the seriousness of "beauty in silence". Dusa Jesih, "Unity" / ­ Between the Lines, 2015 DUSA JESIH, short bio Dusa Jesih was born on 16 January 1977 in Ljubljana. In 1996, she completed the Secondary School for Design and Photography in Ljubljana, specialising in graphic design. She obtained her BA in painting at the College of Visual arts in Ljubljana where she also completed her specialisation in painting three years later. In the period 2006–2007, Jesih attended specialisation courses at the Cité Internationale des Arts in Paris.

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