DOCUMENTS

Documentation

Vlatko Gilic,
art director

BEYOND THE GATES OF THE VISIBLE

It is only when we discover the invisible links between the various external and internal aspects of a painting that we understand the nature of creative process.

We investigate the visible objects in a picture in parallel with the psychology of its internal origin.

What emerges from the unconscious mind changes its basic nature by being integrated into the picture, into the painter's conscious mind, into the visible. On the other hand, the visible element has an immeasurable effect and influence on the unconscious, on what is commonly called the painter's gift or talent. In this way, a link is established between the psychology of a painting and its "physical" representation. At the same time, energy is released which gives life to the picture, setting in motion all the artistic elements it contains.

The paintings of Sasa Pancic are no exception. They grow into the visible from of the object being presented, like a prophetic two-way game. The picture is situated "beyond the painting" and its forms are "like a sensual expression of the non-sensual invisible content". As they take shape, we seem to see in visible form the spirit of the idea being fertilised, where the painting frees us from the external and visible "world". In other words, the external and internal aspects of the picture become a law for discovering nature where the artist meets himself on the path which his creative spirit has traced for him.

It is said that a symbol is an object in the known world that points to something as yet unknown. But what of the object in the unknown, invisible world, which is created by the archetypal mind? It usually sends our a magic, fluid "Signal", which the artist receives from the darkest depths, where the psyche is simply a world, just as coal is simply coal.

Let us suppose that the symbol appears only when the need is felt to express "what thought cannot formulate". The possibilities that emerge our of the unconscious world come quite freely, offering themselves up, and "forcing" the artist to receive their secret messages. Then his painting takes on a new, original and lasting quality.

Sasa Pancic really does accept his "Signal" as the precious content of his own mind and masterfully uses it to reach his desired goal. His art always reveals an irrational stimulus.

His paintings cannot be deciphered all at once, as all the elements in the paintings are linked together by a common meaning. To learn the origin of his creative act is to enter into the artist's initiation rite, into the unknown spaces of the artist's mind. When he studies a plant organism, we seem to sense a secret strength, the quality of the soil and water, and all this condensed and transformed into a higher organism. By the same law, the strength of man is condensed into his ability to react mentally and to express his thoughts as art, where he combines the products of internal and external forms to bring a picture to life.

These paintings are set in a world of undifferentiated unity, in which subject and object are not separated, and they lie beyond the world of words and notions.

His "Signal" comes from his creative embryo, penetrates the layers of lower consciousness, and rises to the level of a higher reality. To reach the peak of artistic power when "whatever he draws, be it only a line or a dot, is alive" means a long road for the artist to travel.

Even now Pancic's work cannot be described in words. It is specific and very much his own. It forces us to look and listen. His fantasy leads him to the essence of things, to the beginning of creation, to a reconciliation of the mortal and immortal, to absolute art - a pre-picture of beauty.

There are few artists of his age in Yugoslavia who so clearly indicate the development of artistic awareness, through a presentation of the artist's own trans-rational language. Pancic is already looking at events from the time before man appeared on the earth.

Due to the nature of this search, his form of artistic expression, of artistic culture, demands a metaphysical materialisation of "pure intuition" because it is this that it gives birth to his emotional "Sign" - his personal artistic "Line", which can only be conceived metaphysically.

It is a "language" which pulses in harmony with his talent, and with his veins.

Looking into the depths is an optical science which the artist develops within himself and which helps him to follow and discover the artistic instrument that will uncover this secret. And "extra-cerebral" knowledge is the ultimate secret of nature. Pancic is trying to come close to it and determine its pre-causes, its spiritual model, from which every true artist derives his inspirational "Signal". The artist must recognise it, instinctively grasp it, submit it to "alchemical" treatment and incorporate it into the world of his painting. In fact, he projects it onto the painting, like a projection of his own mind. The result is a new, personalised artistic reality beyond the reality of our natural "world".

Through contemplation, the artist can initiate and accelerate this process. He can call up his "Signal" from the world of extra-corporal energy and turn it into matter (like a photon passing through a strong electric filed).

The "Signal", entering the energised body of the "Line", guides the artist's hand, solves the key problems of the painting's sculpture, opens up its spaces, plays its colours up and down, and allows the creation of the most refined shapes, up to the moment when sound "takes over" from sight.

The paintings are thus defined as being somewhere between "letters" and "numbers" in synesthetic ratio. The objects in them are closer to their own embryos. Their "Signal" comes from that cradle, like a flicker from the past, carrying information about their structure, composition, colours and background.

The numbers on the paintings are themselves part of the artist's creative personality, abstract signs which we study not only for their external forms. A number, as the first accepted symbol of matter, is a tangible link between matter and the mind.

A drawing is closer to a number, a painting to a letter. A movement of the hand in a manuscript is similar to the movement of a painting during its creation, but whereas thought guides the writing of a manuscript, it is music that leads the painter. The "Line" possesses the energy of which numbers and letters are made, in a form which "plays".

It is the music of numbers and letters.

The painting thinks through the "Line", awakens consciousness of the source, and the start and end of movement. The "Signal" activates its elemental energy, and in the same way as light, transmits it in waves of Spirals, Circles and Arabesques.

Through their link with the Spiral first, the Arabesque second, and the Circle as a third element, the paintings of Sasa Pancic symbolise development, the rotation of creation, the cycle of evolution, and the continuity and dynamism of life in the creation and expansion of the universe. These paintings could be said to be standing with one foot in the world of the "occult". Their "Line" is like a mysterious giver of life; rituals are performed in them and they themselves give life to everything they touch.

Their internal reality makes them alive, true and exciting. As in Chinese calligraphy, which avoids any form of antagonism, so Pancic's art contains a balance in which we feel the full beauty of dynamic movement. This fluid rhythm of his painting is elusive and immeasurable. It is constantly creating new shapes and colours. It keeps all its elements together in a deep relationship; nothing escapes it and nothing slips out of its structure.

The pre-foundation of every new picture is based on those paintings which were better understood in the "Signal". If the artist receives a "Signal", but fails to comprehend it, then the result is - a dead picture.

For ancient man, the magic power of the "Line" meant a way of "overcoming" unknown cosmic forces and achieving "supremacy" over the spiritual side of nature.

Elliptical galaxies, invisible like colliding worlds, spirals of ammonite from the Old Mountain (born 140 million years ago), snails on land and shells in the sea, mysterious spirals tattooed on the faces of New Zealand Maoris - they all act magically upon Pancic's "Line".

Moving round its own artistic globe, Pancic's "Line" wants to undertake interstellar journeys, but also to take short trips on the Earth, founding living colonies of new, unusual shapes, varying bursts of colour suggested by the "Line", but always with the sense of a mystical "wave" from outer space.

Some parts of his painting seem to dominate over others, but they are in perfect internal balance.

The monumental quality of his small format, its refinement, tranquillity, strangeness, spontaneity, intuition, and penetration into the depths of the soul reveal a great talent inspired by the "Signal" and created through the "Line".

His attachment and link to a specific region (Pirot), where traces of a mythological past offer a host of symbols, expressed through the rich decoration of Pirot carpets, help him to recognise the continuous heritage of mental pictures and to delve deeper into the permanence of the ideas they represent.

The specific artistic shape of the arabesque, its rhythm, its constant repetition as a motif, is already recognisable as the second source of Pancic's artistic expression, at moments of the arabesque when thought and matter become one, and rhythm - a never-ending variation on a theme. This quality of everything that revolves flows into the "Circle".

The movement of the painting is totally unaffected, "without a beginning, and end, or any change", like Time itself. Here the artist comes close to the "Circle", and his art takes on a new inspirational source.

The visible links up with the invisible, the earthly with the celestial. To come to this hidden perfection, the primordial point - "the face of the egg of the world" is to travel a hard and long road. Many stages will yet have to be passed before Earth meets Heaven. The spiritual space of the unknown and transcendental world is conquered without faltering and created through a truth that can be heard through the paintings. Sound will be transmitted by the paintings from those distant regions to the present, which is already becoming the past. At that moment, the "Line" will completely rely on the "Spiral", as its first source, thereby fussing the two ends of existence and demonstrating the circularity of movement - from its source to eternity.

The "Line" of Sasa Pancic is already revealing to us the true beauty and wonderful experience which emerges from "BEYOND THE GATES OF THE VISIBLE".

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