the Art of Simonida Perica Uth
Reitman (from the book of impressions, Bruxelles)

A powerful work, in which the character of the explosion is expressed in a deeply humane way.
Yet, a tradition which is different from ours, was not forgotten.

 

 

 

 

 

 

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Washington Post: Art that Celebrates Peace     

Jewish Threads in the Moroccan Muslim Carpet and Faces of Faith

Art section, writen by: Hank Burchard

At first glance the B’nai B’rith Klutznick National Jewish Museum could be mistaken for a mosque. The museum had mounted a sumptuous display of fabrics and artifacts that celebrate 500 years of peaceful coexistence between Jews and Arabs in Morocco.

The exhibition’s ecumenical enthusiasm was partly produced by progress toward peace in the Middle East. The show is paired with a second exhibit that intertwines works of contemporary Christians, Jewish and Muslim artists.

Morocco has always been a model of tolerance, the museum motes, and the intermingling of the two cultures is reflected in the design of religious objects and in the decorative arts. Arrayed in the exhibit are Jewish and Muslim artifacts, such as mosque and synagogue lamps, that you can’t tell apart without a scorecard. Even sacred objects central to the faiths bear intimately related motifs, as in the covers and fabrics associated with Torahs and Qur’ans (Korans).

Not quite so smooth is the belending of recent works by American Muslim calligrapher Mohamed Zakariya, New York sculptor Judy Fox and painter Simonida Perica-Uth of Washington, originally from Belgrade.

Zakariya, who now lives in Virginia, works in a Turkish style of calligraphy he learned from a Moroccan master. In his pursuit of authenticity, the artist carves his own pens, grinds his own inks and makes his own paper.

Fox executes like-size ceramic figures from Jewish history, along with some non-Jewish prophets, priests, kings and mythological creatures. Her bold rendition of David as a prepubescent boy is a particular standout.

Perica-Uth paints New Testament figures in a style that seems at once iconic and almost anti-religious. Her subjects may be contorted or even turned upside-down; she sometimes ventures so far into mysticism that only her heavy use of gold and silver leaf maintains her identification with the medieval portraitists.

Unlikely as it seems, the three groups of artworks coexists fairly amiably in the same room, achieving a truce if not quite concord because all have their roots in the central mystery from which all religions flow.

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From the newspaper: L'Echo De La Bourse, Actualite Des Beaux-Arts:

Stephane Ray : Reality, Reveries, Cavalcades

Simonida is a young  Yugoslav (Serb)
ennamoured by monumental visions. Pictures which she brought along with her from Belgrade are in general of great size.
They are figurative, full of spasms, powerful and marked by baroqueism, romanticism and symbolism.
They arose to the mind of William Blake, Genesis, and the turbulent decent in to hell.
Simonida likes unusual poses, poses with challenge, which emphasize sprained limbs, background of bones, frightening mutations.
That kind of ART, which with hidden lust caresses the monstrous and complicated, has its value.

There is a greatness in it, power, desire to be expressed beyond the conventional and habitual. Simonida's art
reflects great security, assurance; it is, as an inspiration of an artist, surprising to find in a young women who is 26 years old.

One should be very careful about this evocation of the mystery of creation of man and towards the mutations which arise from it. Gouaches and drawings bring us to think of the frightening compositions of Lebenstein.

 
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From the newspaper: L'evenement

Creation of the World According to Simonida

Lorelei Gallery has discovered for us a young original talent. Simonida Perica comes to us from Yugoslavia. She is 26 years old and has a very personal opinion about the creation of the world. She presents to us, in four cycles, the transformation of man. As a grasshopper, which hops around on the ground, as a devourer of corn formed from a vegetable matter , as a dolphin which dives in to the sea of origin, or as an insect.

The ART of Simonida Perica invites us to an initiation of essential laws of nature by those various transformations presented at the Gallery Lorelei.

 
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Writen by: Oto Bihalji Merin:

She arrives with youthful determination: Simonida.
She is not a pilgrim of the atomic gods. With her paintings she speaks for the opposite development of the spices. Biological and aesthetic mutations turned backwards. Directed and brought up towards returning to pre-nature.

In four cycles she presents a plan of the creation of the world  by her picture. Transformation of man; into an insect, a grasshopper which hops around on the ground, into a corn-gulper which dissolves with vegetable matter, in to a dolphin which plunges deep in to the sea of origin.

Transformation of matter into spirit: from the head of father Zeus Athena Pallas is born; bringing to life the clay figures of Golem by cabalistic magic. Strange mythes of man's childhood in the epic of electronic directed robots.
 
As in the period of late Renaissance crisis, the symptoms of decomposition of the modern art have produced a new manner which suggests a new stylistic evaluation criteria: accented spirit, over expressed emotion, broken glow of colors, sudden changes of light and dark. Rhetorics of philosophical and mythological fables veiled by aesthetically picturesque glazes. Limbs are spiritual like screws, taken apart and put together again according to Simonida's patter. Symbolic stylization. Egyptian sacral stiffness, Greek-archaic movement. Medieval Byzantine mystification of icons. Reminiscence of the baroque infinity, melancholy romanticism and the subconscious of surrealism.

Trismegistus and Lautreamont. William Blake and Salvador Dali.

Simonida's talented hand brings forth her projects to the judgment of the time. Masked pictures.
By looking at them one should decipher them.

Elle arrive avec sa Jeunesse décidée: Simonida. Elle ne venere pas les divinité automatiques. Par ses tableaux elle préconise L'evolution du genre humain a rebours. Des mutations biologiques réversibles. Une orientation de l'évolution vers le retour a la nature première.

Elle présente en quatre cycles le plan da la création du monde selon son idée. La transformation de l'homme: en insecte, en sauterelle sautillant sur la terre, en avaleur de mais se fondant dans la matiere végétale, en dauphin plongeant dans la mer originelle.
La transformation da la matière en esprit: Athena Pallas nait de la tete de son père Zeus, anime d'énormes figures d'argile de Golem par la magie cabalistique.
De curieux mythes de l'enfance de l'homme a l'epoque des robots electroniques teleguides.

Comme a l'époque de la renaissance tardive les symptômes de la décomposition de l'art moderne ont produit un maniérisme qui propose de nouveaux critères,
une nouvelle échelle des valeurs de style: des espaces irréel en tant qu'écho inconscient du monde inquiet:
spiritualité accentuée, émotivité trop expressive, translucidité des couleurs étouffées, changements brusques clair-obscur. Rhetorique de la table philosophique
et mythique voilée du glacis estetico-pittoresque. Membres tournes comme des vis, démontes et remontes selon le patron de Simonida. Stylisation symbolique. Hieratisme égyptien sacral mouvement grec archaïque. Mystique médiévale byzantine des icônes. Réminiscences de l'infini baroque, de la mélancolie romantique du subconscient surréaliste.

Trismegistus et Lautreamont. William Blake et Salvador Dali.

La main douée de Simonida propose ses projets au jugement du temps. Des tableaux masques. C'est au regard de les déchiffrer.

 
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Writen by: toBihalji Merin (Original in German):

In junger Entschlossenheit tritt sie hervor: Simonida.
Keine Anbeterin atomarer Gottheiten. Mit ihren Bildern befürwortet sie eine umgekehrte Deszendenz. Rückwärts gewandte biologische und ästhetische Mutation. Richtung und Züchtung zur Heimkehr in die Urnatur.

In vier Zyklen tragt sie den Schöpfungsplan des gemalten Lebens vor. Transformation des menschen. Zum Insekt. Als Heuschrecke Sprung Über die Erde. Als Maisfresser Vermischung mit dem Floralen. Als Delphin Taucher in dass Meer der Herkunft.

Wandlung der materie in Geist. pallas Athene entspringt gerüstet  dem Haupt des Zeus. Belebung der Tonfigur durch kabbalistische Zauberspruche. Seltsame Mythen der Menschen-kindhdeit im Zeitalter elektronisch gesteuerter Roboter.

Wie in der Krisenzeit derSpätrenaissance haben auch die Verfallserscheinungen der Moderne einen Manierismus hervorgebracht, der Moderne einen Manierismus hervorgebracht, der neue stilistische Wertmaßstäbe vorlegt: unwirkliche Raume als unbewusste Resonanz einer verunsicherten Welt.
Betonte Geistigkeit, Übersteigerter seelische Ausdruck, gebrochenes Glimmen der Farben. Jäher Wechsel von dunkel und hell.
Die Rhetorik der philosophischen und mythischen Fabel verschleiert und übertönt von malerisch-ästhetischen Farblasuren. Schraubenartig gewundene Glieder, auseinandergenommen und nach Simonidas Zuschnitt neugeordnet. Symbolische Stilisierung.
Agypthische sakrale Starre, griechisch-archaische Loslösung. Mittelalterlich byzantinische Ikonenmystik. Erinnerungen an das Unbegrenzite des Barock, die Melancholie der Romantik, das Unter-bewuste des Surrealismus.

Trismegistos und Lautreamont, William Blake und Salvador Dali.

Simonidas begabte Frauenhand legt dem Tribunal der Zeit ihre Entwürfe vor. Bilder unter Masken. Man muß sie schauend dechiffrieren.

 

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Man By Simonida writen by M. Kalezic

Or, how artist Simonida Perica, with her exhibition in the Lorelei Gallery in the heart of Bruxelles, has gained the attention of the audience and critics, introducing herself as a "young and original talent!."
Looking at the pictures and drawings of Simonida, we look back on Andre Marleau:" For 50 years science has questioned many known facts, but which of them should be more thoroughly reexamined than the knowledge of man."

From the very beginning of her work Simonida expresses the need to reexam, analyze, fallow the various phases of man's dramatical reformation. She will say however, that she paints all her life, presenting to us work created in her different phases. This evaluation somewhat favors the opinion that Simonida's present age can nopt be determined by the way she works and how she creates.

What else should be known about 26 years old artist from Belgrade?

She graduated two years ago from University of Applied Arts, as a pupil of Rajko Nikolic, monumental art, frescos and mosaics.
From there, most probably comes love for monumental visions, as already noticed by Belgian Art Critic Stephane Ray: "Pictures which she brought along with her from Belgrade are in general of great size.
They are figurative, full of spasms, powerful and marked by baroqueism, romanticism and symbolism.
They arose to the mind of William Blake, Genesis, and the turbulent decent in to hell.
Simonida likes unusual poses, poses with challenge, which emphasize sprained limbs, background of bones, frightening mutations.
That kind of ART, which with hidden lust caresses the monstrous and complicated, has its value."

We are going trough catalogue of her first exhibition, the one in Bruxelles. We are writhing down some of the names of her cycles : "Transformations", "Artificial Man", "Intuition"…Let us mention some of her works from the already mentioned cycles: "Man - Grasshopper", Man - Dolphin"….Simonida is very interested in the relationship of good and evil, the everlasting theme. In the cycle "Intuition", according to Goethe's motto: "Discovery is developed from the man's soul", we discover titles such as: "Janus", "Michael and Satan"….

Man will continue to be in the focus of Simonida's reflections, she has personally made us believe so. Either through the analysis of this complex and contradictory inner being, or through his relationship with the outside world - environment!

Impressions from the first exhibition in Bruxelles have not yet dried up. Simonida is especially pleased by the opinions that in what she is doing one cannot feel the women. On the contrary, everyone has impression that the strong male hand created that. Naturally, she will strive to strengthen and better even more, the frightening powerful expression of man, pointing out the drama and uncertainty of his existence.

In the prologue of the catalogue Oto Bihalji Merin has written: "She arrives with youthful determination: Simonida. She is not a pilgrim of the atomic Gods. With Her pictures she speaks for the opposite development of the spices. Biological and esthetic mutations turned backwards. Directed and brought up towards returning to pre-nature"……
One thing is certain: Simonida is coming!. One should be very careful about this evocation of the Mystery of the creation of man and towards the mutations which arise from it", we were worked by the already mentioned art critic Ray.

 
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