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Tanja Dursun was born in Sarajevo where she finished High School of Applied Arts, department of advertising graphics. She graduated from Academy of Fine Arts in Trebinje, department Graphics, in 2000 ans she finished her Master's in 2007 at Academy of Arts in banja Luka.

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Tanja Dursun

About me

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Tanja Dursun was born in Sarajevo where she finished High School of Applied Arts, department of advertising graphics. She graduated from Academy of Fine Arts in Trebinje, department Graphics, in 2000 ans she finished her Master's in 2007 at Academy of Arts in banja Luka, department of Fine Arts, majoring in drawing, with the teme 'A drawing on the frontier of abstract and recognizable'.

In additional to the successful creative work in the fields of drawing, painting and graphics, she is also a graphic designer.

She worked as a senior assistant at the Music Academy of the University of Eastern Sarajevo for the subject Art history from 2002-2013. At the moment she is employed as a professor of art and art history in High School 'Eastern Ilidza'.

Tanja Dursun's many works are in public and private collection both in the country and abroad ( Italy, France, USA...) she is a memeber of the Association of Artists of Eastern Herzegovina (ULUIH ) ' Milorad Corovic'.

Creative
fission
Art critique

When someone steps in into the demanding waters of artistic researching, and at the same time wishes to give his contribution in innovation in certain area that is consequently transferred into artists obsession, the heaviness of his task is more than evident.

To move in the area of nonfigurative art where the center is put on pure expression of shapes, lines or colors, with no associations on material world, the intensive research of creative possibilities can take the artist into the sphere of vagueness and indefinable. Or the author’s impression can be taken as arbitrarily chosen act of aesthetic doctrine manifested as insuperable artist praxis.

Tanja Dursun, academic painter, has chosen the painting with the abundance in it, with deposited tradition and its plenitude, kinetic quality, energy and dominance so that she could take the realistic template into the act of fission and set the drawing to the border of realistic and abstract. Series of drawings appeared as the product of Tanja’s research and her own understanding of art and energy potentials of drawing itself. They gave us visible appearance of primary qualities collected into reduced notes that artist left on the paper.

Her hermetic compositions suddenly get opened to let the painting have its own pulse, life and movement in a wide bow – from informal through painters’ gesture, sign and symbol to become elaborated in possible associative abstraction when the artist brings in new materials giving them totally different quality.

The streams of energy become visible only in Tanja’s analytic determination of systems and organization of the drawing-painting. Powerfully, without fear of intensity of emotion, painter goes into the game of focusing maps of visual and spiritual reactions, inspired by her own life. Restlessness creates the draft, polygon of passion where the calligraphic refinement and colorful note confront each other. It moves the act of painting and drawing in the process of fusion where the asymmetry of shapelessness is the sort of colorist battlefield between rhythmical calligraphy and exceptionally colored arabesque.

Structures created in such manner have emphasized independence which excludes myth, metaphor and narration and sets to the fore the architectonics of the painting which is independent and seemingly deformed and as such respires with modern drawing-collage in the sixties and seventies of the twentieth century.

Kandinski says: The freer shape sounds purer and more primitive. In composition, the physical is more or less superfluous and can be omitted or replaced by abstract. Whatsoever, in transferring and composing the material into abstract, the memory should be the only judge, leader and measure for artist. And indeed, as much as the artist uses the abstract shapes he feels himself more and more at home and each time flows deeper in it. In the same hand, the viewer led by the artist, collects more and more knowledge of the language of abstraction and in the end, overmasters it.

For Tanja Dursun, overmastering the language of painting means to be familiar with the development of modern art of the twentieth century as well as to have broad and open spirit capable to all the intensity spread by her. The base of her composition is on relativity and variability of each shape.

So, Creative fission activates our sensible potentials and leads us into the world of drawing which is on the thin line between realistic and abstract and where we try to discover abstract by knowing realistic.

The courage with which the artist came into this complex game confirms that in art (NOWADAYS) there is no word must be, and that art is eternally free. As Vasilij Kandinski wrote: THE ART RUNS AWAY FROM “MUST BE” FORM AS THE DAY RUNS AWAY FROM THE NIGHT.

mr Sinisa Vidakovic

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