Solo exhibition »Memorising«
Paintings and photo objects
Gallery Krka, Novo mesto, Slovenia
SPACES OF EMPATHY
The painter Maša Gala reflects her personal development, new experiences and environmental messages through a clearly established process. She arranges sorts and piles up the interweaving of the real and the virtual to such extent that she creates an irrecongnizable image which by the colour intensity and big formats gives the impression of body experience of imaginary space. Her works are focused on the search of meditative voids within the satiation of urbane life. The paintings themselves are completed works yet Maša Gala through their interaction steers the attention on the phenomenon of dissipated view (unfocused vision), which perforates the surface of the image and turns outward. She points out that the human experience has an inborn changing awareness of space and time which enables creation of spatial representations, object of art, imaginations. She structures her paintings by layers and compilation of individual units which act as algorithms. With the possibility of transformations which can indefinitely grow and move in the viewers' perception she continuously confronts them with the challenge how to embrace, control and stem the evading space.
In the cycle of paintings Prostori (Spaces) (2010) and Svetlobni prostori (Light spaces) (2011) Maša Gala offers the space surrounding us - the actual and the virtual one, and the position of a man as a body, our position and experience within the phenomena which determine our perception of space. Viewer's comprehension and creation of his/her view further on define the way he/she perceives space, what he/she is attracted to and what occupies his/her view .
At her first solo exhibition »Times« she investigated the possibilities which transform and move time into a different potentiality by using a succession of chosen details included into space of a painting. In her trips around the world she collects personal impressions (also as a photographer) and by Facebook and Internet surfing and trying to Google certain words, she collects also impressions and reports of other people which form the foundation of the paintings reflecting her impressions and as such have no beginning or ending. The images where “(all) times” are present in the space of the paintings do not have time succession, but - using a specific construction – painting in layers – show other possibilities where are a different demonstration of time in the spatial image may create a category of sublimity.
In her diploma thesis titled »Razmerje med sodobnim abstraktnim slikarstvom in sodobno fotografijo« (»A relation between a contemporary abstract painting and contemporary photography«) Maša Gala investigates border area as well as intertwining of painting and photography through her own practice. Therefore it is not surprising that she uses the two media and interweaves the experience from the two of them in her practice. She uses her own photographs of rooms and architecture of cities and photographs taken from the media world (Internet, Facebook, mass media), and lays them on a painting by drawing and multilayer painting (which could be also done with a computer programmes but she has replaced them by a subjective painting). Her work is exact, well–controlled and does not allow mistakes, not even a miniature one. Her choice is a decision – no randomness – the content is coded.
In the cycle of paintings called Mind maps(2012, 2013) andMapiranje (Mapping) (2013, 2014) Maša Gala covers palimsestically deposited timely restricted choice of information related to geographical maps with graffiti acrylic sprays and other building materials.
The characteristics of all her paintings created up to the present are various use of structures with which she loves to experiment whereas in the latest cycle, where net structure dominates, she even uses building material. The ideal flow of colours one to another or one across the other could not be achieved using only a paintbrush; therefore the paintings are created with acrylic sprays. The form of translucent net resembles a digital one - pixel which forms the image on the screens used by mass media to bombard us with news and advertisements. The maps, which act as a core of the paintings, fictitiously define the space, they convey defining information, and nonetheless they do not reveal it since they are interwoven with another one. An insight into the screens of her paintings offers multiple pieces of information which are uninformative for the viewer due to their mutual intertwining.
Visual image of the works from this cycle of paintings has further on become significantly purified (Fluid, Memory lane, Mapping, 2014) and minimized – there is more emphasis on a visual impression than on information, thus the painter, even more purified, plunges into the abstract field. The application of colours results in rhythmic, organic patterns without straight edges. The movement sometimes increases, sometimes slows down, and turns outward or inward but most often it spreads in all four directions. Her colours are therefore gentle bearers of foreboding (where Indigo blue, Leaf green and Flesh tint - skin colour dominate) or are highly eruptive (blood red and synthetic green), as if they would like to tear out of the canvas surface and spread into the surrounding. The arrangement in the space makes the images act as an idea of dematerialization of real elements subjected to the subjective relation present each time in each space. Nonetheless in some paintings a premonition of the content, which is addressed to us by the painter from the background, can be felt. Isn't there a barely perceivable silhouette of a woman in contour drawing in the painting Mind maps 12 (2013)? And can we not distinguish a miniature of a women leaving, stuck on the painting Memory Lane 1 (2013)? We may ask ourselves where she is going. Towards the light? Out of the memory? In her more and more abstract paintings the painter Maša Gala allows for such premonitions otherwise the titles of her paintings would not be so deliberately meaningful. Her dematerialized hovering images embrace the viewer into space which is no longer the space of the virtual or the real, but the space of his/her empathy and consequently also the structural changes of the mind.
Tatjana Pregl Kobe,
Curator of the exhibition »Memorising«