Mirjana Mit Stojković

 

 

The noble exotics

 

 

 

Mirjana Mit Stojković

 

The frozen atmosphere of Belgrade, with the conditions that are more alike Scandinavian then Mid-European, was partly “melted” by the exhibition which was certainly unusual in many aspects. In the ULUS gallery, in Knez Mihajlova, on 25th January, just before the stroke of hold currents, a presentation of the artistic cycle of painter Mirjana Stojković Mit, called the Exotic flora, took place.

It has been a long time since our capital was so refreshed with the breath of warm seas and sceneries, we cannot remember when it was the last time that such a strong colouring sparked in this gallery; we do not remember that in the recent past there was such a feast of authentic and original painting.

We live in the era of experimenting, often accompanied with a violent “originality”, in the era of avoiding of the original practice, the era of faddishness, even absurdities which are offered from certain centres as a measure, benchmark, rule, recommendation and standard. For a long period of time, the official Belgrade art scene seemed to be a desert in which, only from time to time, there could be seen small flowers of pure, authentic, good, beautiful, original art. In such a misery, many have lost their way, many of those that used to be talented and hardworking, now accepting the violent recommendations of the “wise connoisseurs” that take the art from this environment into evening, senselessness and absolute fiasco.   

The similar ideas can be found in the “world at large”, but they are mainly marginalized, so the flag is carried by the currents that, as it has always been, take care of promotion of the best-the top quality moments of the artistic practice. After all, whoever visited New York, Amsterdam, Berlin, Helsinki, Moscow or Peking, could easily be convinced that high above the daily, temporary aspects, there is still the well-heard sound of the organs of powerful authorship poetics, which glorify the Being, humanity, beauty, love and the truth…

And suddenly, out of nowhere – a refreshment; like a breeze from distant seas, authentic and warm painting, full of love, the rhapsody of colours, powerful and vivid, full of life and joy, to glorify and honour the  beauty. It has been such a long time since we last saw so much and such respect for the substance, the author’s care for each stalk and leaf, such a care for their materialization, which is flowing into the symphony of colours, long lost and yet, well remembered. Again, such powerful and energetically vivid art is supported by the perfect discipline of the author, who would not let the emotions lose control, which, accompanied with the perfect materialization (of motives and ideas) translates these canvases into the area of noble, aristocratic art, long forgotten and left in the depots of museums and private collections.

Apotheoses of flora have been known from the times of early antique, at the territory of Europe; the peoples of the Far East have been painting to honour it from the earliest times, and all until nowadays; the visual art in Serbia, with certain exceptions, has not particularly distinguished itself in this field. It seems that such hiatus is ready to be filled by the painter Mirjana Stojković Mit. Regardless the fact that she is painting the leaves of palm-trees, philodendron, ficus and other exotic large plants, she stays “at home”, within the limits of European aesthetics, with hardly visible and seductive spices of the far-east poetics.

What particularly wins is the visible monumentality and partly “male” understanding of the motives, which sometimes “threat” to be transferred to the epic side of the artistic reality. A solid, founded composition, precise drawing and the extraordinary support of nuances, just confirm the previous attitude. As for the colours, the palette is strong, vigorous, nobly diverse, dissected, sometimes so subtle that crosses to that “female” sensitive side of understanding (and presentation) of ideas; with all that, she is also naturalistic, to the significant extent. All the aforesaid, and even the determination by motives, all warm nuances, delicate shadowing, chiro-scuro shading only support our belief that we have, after such a long time, a painter that works “following the nature” in every sense of that word. And, one more time, the respect for the substance is a true witness of her love, as the artist, as for the segments so for the entire world, and certainly for the Creator.

We have met the art which has the future, and which has refreshed long observed, and long maintained greyness of the Belgrade art scene; the art of which the freshness and energy evoke the hope for expected, unavoidable, future changes for the better.  

From this spot, we can only express our respect to the painter, and support her in her arduous, good and the only real way of creating the true art.

 

                                                                              Dušan Milovanović

7th February, 2012

                                                                                                                   Art historian