deindividualizacija
Živimo u malom svetu, u prepunom svetu. Vekovima, napretci nauke i tehnologije su omogućivali sve pristupačnije forme komunikacije i transporta, populacije rastu i gravitiraju ka urbanim lokalitetima i konačno u zadnjih nekoliko vekova postoji trend ka globalizaciji u svim sferama ljudske aktivnosti. Svakodnevna iskustva nas čine svesnim sveobuhvatne međupovezanosti našeg sveta. Upušteni u ovakvu apsolutnu međupovezanost, u opasnosti smo od gubitka osećaja za naš položaj u svetu kao individualne jedinke. Ljudi koji se bave stvaranjem umetnosti imaju tendenciju da predstavljaju njihovu jedinstvenost i individualnost. Ipak, iz sociološkog pogleda, umetnost ne stvara pojedinac, već društvo. Umetnik je samo medijum kroz koji ta umetnost nastaje. U tom smislu umetnost nije samo proizvod umetnikove kreativnosti i volje, već zbirni efekat društva kojeg je on deo i pod čijim uticajem i u čijem kontekstu on radi i stvara. Moja serija Deindividualizacija usvaja i obrće tu dinamiku tako što u realizaciju dela uvodi volontere kao učesnike. Dela su realizovana u javnim prostorima od strane slučajnih učesnika koji su pozvani da ostave svoj trag, najčešće otisak ruke, u različitim medijima,terakoti, betonu, gipsu, ili crtežom na papiru. Format rada, kao i medijum je unapred određen, ali kompozicija i izvedba individualnih gestova je ostavljena publici. Na taj način učesnik je suočen sa osnovnom kreativnom odlukom, odnosno postavljen u ulogu umetnika. Kako se učesnički tragovi nagomilavaju, počinju da se preklapaju, tako da ono što su originalno bili individualni znaci, uskoro postaju šara pa konačno i tekstura. Kako se tragovima gubi broj, ono što je bilo konkretno, nešto što je imalo svoj naziv i brojnost, svodi se u bezimeno mnoštvo, u apstrakciju. deindividuation We live in a small world, a crowded one. For centuries, developments in science and technology have facilitated increasingly accessible forms of communication and travel, populations soared and gravitated towards high density urban environments and finally, in the last century, there’s been a trend in all fields of human activity towards globalization. Everyday experiences leave us acutely aware of an all-encompassing interconnectedness. Immersed in this absolute connectedness we are in danger of losing our sense of place in the world as an individual. People who choose to create art have a tendency to present their uniqueness and individuality. Yet from a sociological perspective, art is not created by the individual, but by communities. The artist is merely a vessel through which art is created. In that sense a work of art is not just a product of the artist’s creativity and will, but the cumulative effect of the communities he is a part of and under whose influence and in whose context he works. My series Deindividuation attempts to embrace and reverse this dynamic by introducing volunteer participants into the process of art creation. The artworks are realized in public spaces by random volunteers who are invited to leave their mark, usually a hand print, in varying media, such as terracotta clay, concrete, plaster, or drawing on paper. Although the format of the piece as well as the medium is predefined, the overall composition, as well as the execution of the individual gestures, is left to the public. In this way the participant is presented with a basic creative decision, placing them in the role of the artist. As the participant’s marks pile up they begin to overlap each other and what were originally individual gestures soon becomes a pattern, then a texture. As the marks lose a sense of number, what was once concrete, something with a name and count, devolves into a nameless multitude, an abstraction.

deindividualizacija//vazduh
Vazduh je varijacija na Deindividualizaciju, stvoren, tokom nekoliko meseci, koristeći gipsane zavoje da uhvate otisak šaka učesnika. Takve otisci sadrže gest učesnika, njihovu specifičnu anatomiju ali i vidljive tragove istorije njihovih ruku i time i same osobe. Motiv ruke me zanima kao specijalna vrsta portreta. To je portret čija svrha nije toliko da govori o karakteru subjekta, o njegovoj ličnosti, već da se bavi njegovim delima, načinom na koji on stupa u odnos sa svetom. Ruka je alat kojim manipulišemo svoju okolinu, kojim ispoljavamo našu volju. Ona je medijum između naše unutrašnje realnosti, naših misli, želja, nagona, naših sklonosti, i spoljne, uzajamne realnosti. Vazduh je specijalan jer ima sposobnost modularne postavke. U zavisnosti od konteksta, prostora u kojem se izlaže, otisci ruku mogu da se izlažu u različitim kompozicijama. Jedna takva je Ustajali vazduh u kojoj su ostisci postavljeni u prozirne plastične džakove. Ustajali vaduh istražuje ideje Deindividualizacije u kontekstu ograničenog društva (bilo da je to prostorno, ekonomsko ograničeno društvo, ili ono koje je ograničenih sloboda). deindividuation//air Air is a variation on Deindividuation, created, over the course of some months, through the use of plaster bandages, capturing the imprint of people’s hands, containing their gestures, their specific anatomy but also the visible marks of the history of the hand and person. The motif of the hand intrigues me as a special kind of portrait, one whose purpose isn’t so much to describe the personality of the subject, as it is to describe the subjects actions. The hand is the tool by which we manipulate our surroundings, the means of manifesting our will. It is the medium between our inner reality of our thoughts, desires, compulsions and inclinations and the outer, shared reality. The Air variant is special because it has the ability of modular exhibition. Depending on the context, both spatial and otherwise, the hand molds can be exhibited in varying compositions. One such is Stale Air which places the mold in clear plastic bags. It explores the core ideas of Deindividuation in the context of a limiting society (whether spatially, economically, or of limited liberty).

deindividualizacija//terakota
Terakota je nastala tako što sam proizveo cilindre jednakih veličina od meke zemljane gline, pustivši je kroz ekstruder. Ovo je biio najjednostavniji standardizovani oblik moguć za proizvesti u većim količinama od gline. Kad su cilindi bili gotovo, dao sam ih volonterima koji su ih stisnuli između šaka, time proizvodeći unikatne oblike. Ovi jedinstveni oblici, kao i ranije nose gest individue i informaciju njihovih ruku, njihovu veličinu, oblik i istoriju, ali takođe nose i informaciju interakcije koju je ta individua imala sa materijalom. Neki cilindri su se jedva deformisali od strane malih i slabih ruku, noseći na sebi samo plitak otisak, dok su se drugi gotovo sasvim izkrivili i popucali. Cela serija je nastala kao pokušaj negacije mog smisla sopstvene jedinstvenosti i individualnosti kroz prepuštanje kontrole nad sopstvenim radom. Kako je serija napredovala, sve sam se više udaljavao od procesa nastanka, dok se konačno nisam totalno fizički uklonio, ostavivši samo format, sredstvo za stvaranje otiska i piktografski izazov. deindividuation//terracotta Terracotta was created by making equal sized cylinders of soft clay by taking it through an extruder. This was the simplest standardized shape to mass produce out of clay. Once the cylinders were made, I presented them to volunteers who would squeeze them between their fingers, creating unique shapes. These unique shapes as before carry the gesture of the individual and the information of their hand, it’s shape, size and history, but they also carry the information of the manner in which the individual interacted with the clay material. There are cylinders barely deformed by weak and small hands and other cylinders which were completely misshapen and cracked. The series itself came about as an attempt at negating my own sense of individuality and uniqueness by relinquishing some control over my work. As the series progressed I began increasingly distancing myself from the process of creation, eventually removing myself completely, leaving only a format, the means for mark making and a pictographic challenge.