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This is a research project of Višnja Petrović dealing with a visual interpretation of some mathematical objects, and more generally, an interplay between the art and math languages with many interleaved hidden layers, not always susceptible for immediate reading. In the period 2009-2018 Višnja has been exploring how to transform the syntax of mathematical objects called ‘smooth singularities’ into the sematic of an abstract art, within the framework of a project named NOTES ON CATASTROPHES. The theoretical framework of smooth singularities is largely known as “Catastrophe Theory” which explains the title of the subproject. This title also beautifully sublimes her personal testimony / confession on this interdisciplinary and interlanguage communication. Metal drawings, which resulted within the project NOTES ON CATASTROPHES, express a perpetual repetitiveness and variations of a small number of geometric models, offering possible space for meditative insight into the perception of visual movement. A seemingly monotone and restricted visual means are purposely chosen in order to reveal the inner meaning of wavy forms against a rigor of mathematical visual metaphors. Exploring an interplay between art and math languages came as a result of her perception that these two disciplines share inherent properties: an asceticism of forms and self-indulgence in keeping inner discipline. These properties are also recognisable characteristics of the whole artistic opus of Višnja Petrović, from her early quests for transcendental passages from one nuance of gray/white to another, to the metal drawings represented in this project. Metal drawings “Notes on Catastrophes” is to express a rather intimate perception of mathematical – geometric concept of catastrophe as an object of visual research. A rhythmic interplay, repetitiveness and variations of a small number of geometric models offers possible space for meditative insight into the perception of visual movement. A seemingly monotone and restricted visual means are purposely chosen in order to reveal the inner meaning of wavy forms. Sometime, a sleepy, self-indulging, safe space of our existence hides an embryo of an abrupt ruthless changes with long lasting consequences in the afterlife. The geometry of such changes of wavy forms can be viewed as a rigor mathematical visual metaphor of the process in which substantial changes can be caused by small, almost invisible changes of the environment. “Notes on Catastrophes” are not merely topological visual depiction, but an attempt to use drawing to present rollings, fractures and catastrophes of our everyday life.
Print:Giclee on Photo Paper
Size:10 W x 8 H x 0.1 D in
Size with Frame:15.25 W x 13.25 H x 1.2 D in
Ready to Hang:Yes
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
1960 - Born in Novi Sad (3rd December) and still living there (Serbia) 1994 - LECTURER - DRAWING WITH TECHNOLOGY (a teaching fellow) of the ACADEMY OF ARTS in NOVI SAD. 1997 - ASSISTANT PROFESSOR - DRAWING WITH TECHNOLOGY of the ACADEMY OF ARTS in NOVI SAD 2002 - ASSOCIATED PROFESSOR - DRAWING WITH TECHNOLOGY of the ACADEMY OF ARTS in NOVI SAD 2006 - FULL PROFESSOR - DRAWING WITH TECHNOLOGY of the ACADEMY OF ARTS at NOVI SAD Here is the excerpt from the book that guided me in my work: The waves broke and spread their waters swiftly over the shore. One after another they massed themselves and fell; the spray tossed itself back with the energy of their fall. The waves were steeped deep - blue save for a pattern of diamond- pointed light on their backs wich ripppled as the back of great horses ripple with muscles as they move. The waves fell again, like the thud of a great beast stamping. Virginia Woolf, WAVES
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