Reflection of View

One of the most interesting interpretations of my work at the time
was written by an art historian Maja Olić, in the catalogue of the
exhibition “Refleksija pogleda” (Reflections of the View), held in Trs-
tenik (September 9 to October 6, 2010): “As a reaction to conceptual-
ism, in the second half of the 20th century, hyperrealism was born
from artistic research, asking many questions on the existence of art
and artist in the universe as the place of origin in the broadest sense.
It was questioned and condemned by many critics, who judged it to
be the “art of silent majority, art of exultation, acceptance and adu-
lation of symbols and myths of contemporary USA”, according to
Giorgio di Genova. Until recently, it was considered cold, trapped
in its technical perfection, allegedly representing a false reality more
real than the real one. But is this really true?
This artistic genre does not preclude spiritual communication,
as evidenced by the oeuvre that Mirjana Đošić has presented to the
public. At first glance, she reminds us of Chuck Close and his in-
terpretation of photography: “Many believe that only one painting
may be created on the basis of one photo. However, many different
paintings may be created on the basis of one photo, just like on the
basis of reality.” By magnifying the picture to larger-than-life size,
he questions the reality of the displayed portrait. Mirjana goes even
further in her exploration. She displays the entire visible reality as a
reflection of the apparent reality. Her precise, fine and exact model-
ization is just a mirror to all the emotional states of a young artist,
which help her to find her way on the road to discovery of the real-
ity around her, and the reality within herself. Similar to Velázquez’s
court portraits, where the artist’s self-portrait is hidden in the mirror
facing the model, her reflection appears in the mirror of someone’s
eye. If we believe that eyes are the windows to the soul, then every eye
is a place of meeting - a bridge where traditional and modern princi-
ples clash, without any prospect of either winning.
All of the above indicates that an interpretation of the artistic
experience of Mirjana’s oeuvre is a much more complex issue than
critics at the end of the last century believed. The technical artistry
is not what makes the picture interesting. Beneath all the perfection
lies a web of various experiences, whose importance goes beyond
the apparent reality, revealing a double door into a new manner of
speaking to oneself and others. The central place in it belongs to the
human, while the city lights are just a reflection on the sunglasses.”