Mediteran I Print

"Marija Škorić's paintings are a kind of arabesques of dense handwritten weaving. These arabesques sometimes resemble the calligraphic gesture that we find in the painting worlds of Mark Toby, Jean Bazaine, Alfred Manessier and Roland Barthes. Elsewhere, however, we perceive it in the form of multi-colored patterns, structured on a base of discrete geometric weft, softened by plasma-like melting (Birth of Pegasus, Shaman's Forest Selfie). And these patterns have a related genealogy of related painterly poetics in authors like Jean le Moal. We then encounter a somewhat more freely expressed arabesque in paintings in which the color is laid down in multicolored spots that take on irregular, organic shapes (Wonders of the Forest), and which paintings are influenced by the stylistic pattern of tachism, following in the footsteps of Sam Francis, Norman Lewis and Judith Lindbloom. The last subgroup of the arabesque syllable can be found in the pictures Happy Dog, Sunny Night and Good Morning, Good Night. These are pictures that are somewhat phantasmagorical in their inspiration, in which the arabesque resembles the method of automatic drawing practiced by certain surrealists. All the mentioned references are branches of the painting family to which Marija belongs, without directly and deliberately referring to that kinship. the other Parisian school, Tashism, abstract expressionism, lyrical abstraction and certain aspects of surrealism. However, it should be noted that Marija does not belong to the type of painters who consciously play with existing patterns, striving in dialogue with their predecessors to realize their own contribution to the painter's heritage. Her painting has a fundamentally different orientation vector. It does not refer to the external world - whether it is the history of painting, or the reality in which we live - but to the inner world of our own imagination." (Jagor Bučan)