Descrizione Opera / Biografia
or (Take) All Of Me
Reshuffling of collective memory
digital graphics, drawings,
ink and oil paintings.
No matter our origins, our DNA is constantly evolving due to environmental, cultural, political, economical, emotional and personal circumstances. There is no fixed human nature ; we are all cross-bred and our minds and actions reflect the realities of the global village. When we finally accept our fluid identity; when we realize the whole is vastly greater than the sum, our collective love, potential and dynamism can and will transform the conflicts of today into tomorrow’s Utopia. Artist
”The multiverse (or meta-universe) is the hypothetical set of possible universes, including the universe in which we live. Together, these universes comprise everything that exists: the entirety of space, time, matter, energy, and the physical laws and constants that describe them.
The various universes within the multiverse are called ”parallel universes”, ”other universes” or ”alternative universes.
’The meeting of two personalities is like the contact of two chemical substances: if there is any reaction, both are transformed.’ Carl Yung
Nina Sumarac Jablonsky
is a visual artist born in Belgrade, Serbia. For the past 18 years, she living and working in Limassol, Cyprus. She holds a Master in Mechanical engineering and Postgraduate diploma in Fine Art. From 2001, Nina Sumarac Jablonsky had ten solo exhibitions. She received many prestige awards and participated in numerous international exhibitions and competitions in Cyprus, Switzerland, England, Serbia, France, Bulgaria, Greece, Italy, New York, Korea and Berlin, evolving into an acclaimed painter both locally and internationally.
Nina makes paintings, drawings, photography, digital graphics and various media art. By merging several seemingly incompatible worlds into a new universe, Sumarac aims to amplify the astonishment of the spectator by creating compositions or settings that generate tranquil poetic images leaving residual traces and balances on the edge of recognition and alienation. In her work fiction and reality come together, well-known tropes merge, meanings shift, past and present fuse. Time and memory always play a key role. Taking a conceptual approach, she explores a diverse range of subjects polyphonously.
Her works directly respond to the surrounding environment taking everyday experiences as a point of departure to investigate nuanced representations. Often these are framed instances that would go unnoticed in their original context. By applying a poetic and often metaphorical language, she uses a visual vocabulary that addresses many different social and philosophical issues. The work incorporates time as well as space – a fictional and experiential universe that only emerges gradually. The possibility or the dream of the annulment of a (historically or socially) fixed identity is a constant focal point.
The “look like” collage technique emphasizes our world complex history, geography, internationalism, religion and beauty. The human figures are created from some of cross-cultural icons.
The backgrounds are composed of fragments from different paintings to imply the ethnic, social, historical and any kind of distinctions: Uros Predic – Kosovo Maiden (1919); Muhammad Yusuf 17th century illustrated Shahnameh -The battle of Suhrab and Rustam; Persian - Hunting with a falcon, Safavid dynasty (1502-1736); Hieronymus Bosch _ Garden of Delights (1490-1510) ; Chinese Painting of Qing Dynasty (1644 - 1840); Henry Ossawa Tanner - Sand Dunes at Sunset (1886); Olive Orchard by Van Gogh (1889); Sandro Botticelli - The Birth of Venus (1486); Sandro Botticelli - Dekameron (1350–53); erotic images from ancient Greek pottery; Cyprus ancient figurines. William John Leech (1881-1968), A Convent Garden, Brittany, c. 1913, Oil on canvas, 132 x 106 cm; Potato Planters, Jean-François Millet, about 1861; La Tempesta, Giorgione, c. 1508, oil on canvas; River Landscape with Horseman and Peasants, about 1658-60, Aelbert Cuyp, Landscape Photography, Faroe Islands, Denmark; Poulnabrone dolmen , portal tomb in the Burren, Neolithic period, County Clare, Ireland,; ”Storks” Joseph Chełmoński, 1900, Poland ; Irish Fairy Tales illustration , by William Butler Yeats; Brian Boru sculpture outside Chapel Royal, Dublin, Dublin Castle; Frederic William Burton’s ’The Meeting on the Turret Stairs’; Daniel Maclise A Scene from ’Undine’; The Little Mermaid, illustrations by Edmund Dulac; MY DELIGHT By Gerard Dillon; The Madonna of Chancellor Rolin by Jan van Eyck 1435; Babie Lato by Józef Marian Chełmoński: Francis Joseph O’Meara - Autumnal Sorrows, 1878; Paul Henry Ireland 1876-1958 The Fairy Thorn; Roderic O’Conor (1860-1940) – COASTAL SCENE, EVENING or TURBULENT SEA , BRITTANY, c.1898-1899; “Economic Pressure” le Seán Keating, 1923.; Goose Girls 1885 by Sir John Lavery; “The Goose Girl”1922, painting by William John Leech;