Mojca Zlokarnik

^{Sezujem vsakdanjost, odlupim besede.} ^Vstopim.

^{Predali so polni barve. Vrtljaji misli imajo drugačen radij. Počasnost, globina. Prepustim se.}

^{Obstaja kromofobija in obstaja kromofilija. Obožujem barvo. Učim se jo razumeti vedno znova in znova. Zanalašč in predrzno. Krotke, že znane rešitve me ne zanimajo. Provokacija?}

^{Kako barvo, ki je lepa sama po sebi, uporabiti predrzno? Kako se izogniti ceneni dopadljivosti, ki je pogost očitek površnega pogleda? Vedno hoja po robu, samo po robu …}

^{In kaj se zgodi z zaznavo, ko soočim dva na videz povsem nespravljiva barvna tona?}

^{Mirno in zbrano nanašam barvno snov. Opazujem.}

^{Ravna črta daje barvi najbolj pošteno možnost delovanja. Minimalno nosi v sebi gostoto in poetični uvid.}

^{Pa vendar, če slikar ni dovolj moder, barva zlahka zamre, ker živi in se spreminja v dinamičnih medsebojnih interakcijah, je nestalna in komaj ulovljiva … Potrebno je mojstrsko obvladovanje snovi in poznavanje zakonitosti, da bi se zavest o samem sebi izgubila. Takrat se lahko zgodi. Zven, pišč, gluhota …}

^{Kako ohraniti barvo pri življenju, da bo podoba zadržala pogled gledalca, in kakšno vsebino nosi?}

^{Barva je dotik očesa in glasba za gluhe …}

^{Vse, kar nastane, zrcali nazaj – svojo vsebino – ponuja prepoznavanje, namige, pripoved. To so Persone, ki jih prepoznavam.}

^{Biti oseben z abstraktno sliko.}

^{Mojca Zlokarnik, oktober 09}

^{Besedilo ob razstavi SLIKA: prehajanja, Galerija sodobne umetnosti Celje, 26.11.2009 – 20.01. 2010, str. 32.}

Mojca Zlokarnik, 2011, foto / photo: Amir Muratović

I take off the everyday, I peel off the words. I enter.

The drawers are full of colour. The swirls of thought have a different radius. Slowness, depth. I surrender.

There is chromophobia and there is chromophilia. I adore colour. I try to understand it anew, over and over again. Purposefully and audaciously. I have no interest for already discovered solutions. Provocation?

How to use colour, which is beautiful in itself, with audaciousness? How to avoid the cheap pleasure that is the frequent reproach of the superficial eye? Always walking on the edge, only on the edge …

And what happens to perception when I set up a confrontation between two totally irreconcilable colour hues?

I apply the coloured substance with calm and concentration. I observe.

The straight line gives the colour the fairest possible way to function. It bears within itself a minimal thickness and a poetic insight.

And yet, if the painter is not wise enough, the colour can easily taper off, because it thrives and changes in dynamic reciprocal interactions, it is unstable and almost ungraspable … The mastery of materials and knowledge of rules is required for the consciousness of oneself to be lost. This is when it can happen. Sound, shrillness, deafness …

How to keep colour alive so that the image will retain the gaze of the viewer, and what is the content that it bears?

Colour is the touch of the eye and music to the deaf …

It mirrors back all that comes into being – its own content – offering recognition, hints, narrative. These are the Personas that I recognise. Being personal with an abstract image.

Mojca Zlokarnik, October 09

Text for the catalogue accompanying the exhibition SLIKA: prehajanja (THE PAINTING: passages), at the Celje Gallery of Contemporary Art, 26.11.2009 – 20.01.2010, p. 32.

Translated by Arven Šakti Kralj.