Seascapes/Into the Wave
“Plivanje je kao neka vrsta sna: lako se premestim iz kreveta u jezero. Ako plivam pola sata ujutru, dobro se osećam ceo dan. Kada se potpuno opustim u bazenu, uvek završim u istom položaju, okrenut ka nebu i telom prelomljenim pod uglom od četrdeset i pet stepeni, s glavom pod vodom i rukama ispruženim ispred sebe kao da bih da dohvatim ništavilo. Volim, ovim redosledom, plivanje u moru, jezeru, potoku i bazenu. Plivao sam u kanjonu reke Gardon, u blizini mesta Kolija gde pljosnato glatko kamenje oivičava potok prijatne temperature koji lagano teče. Popeo sam se na preko tri stotine metara do njegovog izvora i vratio se nazad bez i najmanjeg truda, kao u snu, sunce bacajući rumeni odsjaj po površini kamenja i gde mi je vid dostizao do najvećih daljina i odjeka mojih reči.” Eduard Leve - Autoportret Preispitivanje usvojenih i nadalje razvijanih proceduralnih rešenja i postupaka, u disciplini koja je po svojoj osnovnoj medijskoj odrednici statična umetnost, Lidiju Delić je navelo da iz stanja dvodimenzionalnosti slikarskog objekta izađe u prostor i tako ambijentalno aktivira svoje slike. Problemsko središte višemedijske prostorne instalacije Sescapes koju čine crteži-skulpture, ambijentalni zvuk usidreno je zanimanjem za složenost pitanja doživljaja odnosa između kretanja i trajanja. Kroz prepoznatljive vizuelne iskaze, snolike po svom sadržaju i formi, Lidija Delić vešto transponuje sugestibilnu atmosferu iz svojih prethodnih slikarskih serija Ambience i Into The Wave u imaginativno transformisan fizički prostor galerije. Kako bi otvorila mogućnost gledaocu za postepeno upuštanje u događaj umetnica se prepušta senzornim igrama usporavanja vremena, suspendovanja, pauze, preklapanja i stanja mirovanja, pokrećući u posmatraču izvesne psihofiziološke senzacije i izvodeći ga tako iz jedne ravni realnosti u drugu, iz fizičkog u čulni prostor. Radovi Lidije Delić najčešće nastaju u serijama, budući da umetnica pojave, fenomene ili predmete za koje je zainteresovana reflektuje u njihovom neprestanom kretanju, odnosno, sekventnom trajanju. Ovog puta, serijalizovani estetizovani morski prizori - Seascapes okreću se drugačijem plastičkom govoru. U crtežima na pločama možemo da detektujemo samo premeštanja figure, ali uz odsustvo transformacije. Suprotno Mejbridžovim (Eadweard Muybridge) fotografskim studijama dekompozicije pokreta, a bliže Bergsonu (Henri Bergson), kretanje na crtežima je postavljeno u područje trajanja. Ono nije linija, jer linija nastaje tek nakon pređenog puta, nakon završenog čina. Umetnica nam otkriva da sve, čak i naizgled čvrst i nepromenljiv predmet kao što je mermerna ploča, takođe jeste događaj, tačnije, višestrukost tokova događaja - koji nam se otkrivaju u bogatoj teksturi materijala kao naslage vremena. Vreme predstavlja koegzistenciju svih ostalih nivoa trajanja, ono je drugačije i od linije, prostora ili broja ili bilo koje druge opažajne kategorije razuma jer mnogo toga što gradi iskustvo ovih događaja se ne nalazi u sferi neposredno vizuelno opažljivog. U preseku prostora koji je vidljiv i prostora koji misli, umetnica u radu Seascapes privremeno suspenduje svakodnevicu i u intimnom spletu okolnosti svog unutrašnjeg prostora aktivira posmatrača kao učesnika kroz iskustvo blisko meditaciji. Posmatraču je omogućeno da projektuje sadržaje sopstvenog nesvesnog na ponuđene slike, i tako inicira ili nastavi započeto otkrivanje i premeravanje svog unutrašnjeg prostora. / ”Swimming is like a kind of sleep: I go easily from a bed to a lake. If I swim for half an hour in the morning, I feel good all day. When I relax completely in a pool, I always end up in the same position, back to the sky, body bent at forty-five degrees, head underwater, arms stretched out in front as if to grab the void. I like, in order of preference, swimming in the sea, in the lake, in a creek, in a pool. I have swum in the canyon of Garden, near Collias, flat smooth rocks line the stream that flows softly at a pleasant temperature, I climbed over tree hundred meters to its source and come back without the slightest effort, as in a dream, the sun cast an orange sheen on the surface of the rocks, my eyes could see far into the distance and my words echoes.” Еdouard Leve – Autoportrait Questioning already adopted and further developed procedural solutions and procedures, in a discipline that is according to its basic media determinant a static art, led Lidija Delic to step out from the two-dimensional state of the painter’s object into the ambience and to thus make her paintings become active in the surroundings. The heart of the matter of the multimedia three dimensional installation entitled Seascapes that consists of paintings-sculptures and ambient sound is anchored by her interest in the complexity of the question of one’s experience of the relationship between movement and existence. Bipartite in its form, in the material and conceptual sense, the exhibition is realized as a coherent whole; individual fragments of this whole were developed by means of establishing their relations with the entirety of the exhibition. Through recognizable visual statements, dreamlike in their contents and form, Lidija Delic skilfully transposes suggestible atmosphere from her previous painting series of Ambience and Into The Wave in the imaginatively transformed physical space of the gallery. In order to open a possibility for the viewer to gradually engage with the event, the artist plays the sensory games of slowing down the time, suspending, pausing, overlapping and of the state of inaction, triggering certain psycho-physical sensations in the viewer and leading him thus from one plane of the reality into another, from physical to sensory space. Lidija Delic most often creates her works in series, because this artist reflects the occurrences, phenomena or objects for which she is interested in their perpetual movement, or, sequential existence. This time, the aesthetic seaside scenes presented, the Seascapes, are directed towards a different sculptural language. In her drawings on marble plates, we can detect only the movements of a figure from place to another, without any transformation. As opposed to the Eadweard Muybridge’s photographic studies of the decomposition of movement, and closer to the ideas of Henri Bergson, movement in her drawings is set in the realm of duration. It is not a line, because a line is created only after a section of path has already been covered, after a completed action. The artist discloses to us that everything, even the seemingly solid and unchangeable object such as the marble plate is also an event, or to be more precise, multiple flows of events – which are revealed to us in a rich texture of the material as a layer of time. Time represents the coexistence of all the other levels of existence, it differs from the line, space or number, or any other category perceptible by the reason, because a large part of the things built on the experiences derived from these events is not located in the realm of the directly visually perceptible things. In the intersection of space that is visible and space that thinks, in her work Seascapes, the artist temporarily suspends the everyday life and in an intimate conjunction of her own internal space makes the viewer an active participant through an experience that is close to meditation. She enables the viewer to project the contents of their own unconsciousness onto the images offered, and to thus initiate or resume discovery and measuring of their own internal space. From the text “Seascapes/Into the Wave”, Miloš Zec

Soap Bubbles
Na prvi pogled, može nam se učiniti da serijom slika na aluminijumskim pločama Lidija Delić ulazi u polje apstrakcije. Ali izbor boja i podloge, struktura slike i sama postavka nas navode da tragove značenja tražimo na drugom mestu. Autorka nas poziva da zaronimo unutar slike, zavodi nas naznakama skrivenih nebeskih pejzaža ali nas onda konfrontira sa gotovo hemijski veštačkom ljubičastom, purpurnom koja se legano preliva u pastelno da bi u pojedinim segmentima površine izbijala hladna aluminijumska srebrna poput ogledala koje nam se podsmeva. Autorka duhovito rad naziva Baloni od sapunice i sugeriše nam direktni izvor inspiracije. Postavljene na stolove tako da površina može da reflektuje svetlosne promene prostora, slike nas uvlače u igru posmatranja, prelamanja svetlosti, prelivanja boja i potrage za formom koja nam izmiče. / The first impression given out by Lidija Delić’s series of paintings on aluminium can be seen as entering the field of abstraction. However, the choice of colour and surface, together with the structure of the painting and setting lead us to pursue their meaning elsewhere. The artist invites us to dive into the painting, seduces us with pieces of hidden celestial landscapes, while confronting us with an almost chemically artificial purple colour that gently transforms into a pastel tone. In certain parts of the painting, the cold aluminium silver resurfaces as a sort of a mirror that ridicules us. The artist titles the work Soap Bubbles with a hint of humour as to suggest the direct source of inspiration. Positioned on tables, so that the surface is able to reflect the changes of the light in the room, the paintings pull us into an observation game of light reflection, colour and the search for a form that escapes us. From the text "Soap Bubbles", Milica Pekić

Međuprostor/Interspace
Posebnom rekoncentracijom nad svojim likovima/motivima, Lidija Delić nastoji da se odvoji od mimetičke slikarske tradicije. Slika sećanja na izabrani trenutak je iskrivljena, udaljena je od pojavnosti. Jednostavni likovni postupak izolacije elemenata kompozicije (ženske figure, pljuska), otkriva intenciju da se izvedene slike otrgnu od reprezentacije, poremeti naracija i odstupi od ilustrativnosti. (...) Slike “Međuprostora” grade mogući prolaz koji bi posetioca izveo iz kolektivnog prostora galerije ka individualnom doživljaju iznete propozicije. Rubne zone je vrlo teško vizuelno reprezentovati, već ih je jedino moguće spoznati subracionalno i visceralno. Trenutak uranjanja u vodu evocira liminalno stanje u kome se specifični fiksirani aspekti ličnosti, inače statični i kruti, dovode u svoje početno neizdiferencirano stanje koje ne dozvoljava razumevanje ljudskog tela kao odvojenog i dominatnog nad prostorom i vremenom. / Through a particular ‘re-concentration’ on her characters/motives, Lidija Delić seeks to step away from the mimetic painting tradition. The image of the memory of a given moment is distorted, distanced from sole appearance. The usage of a simple formal method – isolating elements of composition (the female figure, splash) reveals the intention to depart from representation, to move away from illustration and create an interruption in the narrative. (...) The Paintings of “Interspace” construct a possible passage which would lead the visitor out of the collective area of the gallery to the individual experience of the proposed concept. These liminal thresholds are extremely difficult to visually represent, however, they can be sub-rationally and viscerally perceived. The moment of a body submerging into water evokes a liminal state in which specific fixed personality traits, usually static and rigid, are brought back to their initially undifferentiated state which does not allow the understanding of the human body as detached from and dominant over space and time. From the text "Interspace", Miloš Zec