Pulchérie Gadmer

Enigme des ombres

Nika Zupančič twists and turns in her studio like a worried alchemist. She’s working on shadows apparition and reduces the fresh figurative layer until it erases. She destroys, in order to construct. Necessary dislocation for the birth of an organic swarm. The surface becomes a living fabric. Abstract figures dance on the canvas, the movement of hand and time does print, as it would on the film of a black and white Chunking Express. She redraws a photo or a video excerpt of nature and, by a combinatory game, arranges her references until the line melts into the scenery, until the pictorial treatment becomes a scenery in itself. The image then appears simultaneously in positive and negative. The viewer chooses his perceptive angle.
Nika is restless. For years, she’s been torn between her masters, between Rembrandt and Malevich. For years she experienced their techniques, she confronted their dialectics. Change of paradigm. Nika lets loose, distances from her perfectionism, takes a leap of faith with the creative process, with the migration of pigments, the hazards of sinkage. The subject exudes from itself, spreads in itself on the surface. The Heraclitean change dear to the artist is perceptible. Everything is movement, flow, change. Opposites combine. Memories persist in their elusiveness.

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