Slovenian lady artist Mateja Horvat

FROM CALLIGRAPHY TO NEW VISUAL DIMENSIONS

Graphic work, of the Slovenian lady artist, Mateja Horvat, her intitial model finds in the Islamic calligraphy, not only in formal aspect but in spiritual too, what in her case, indicates the aspiration for the esotheric and hidden, attempting to reach the specific meditative expressiveness of the calligraphic attribute. With this, Mateja Horvat expresses the fine arts dimension of the Arabic letter (harf) through the original typology, enaging in realization of the basic all-sublimated motive which is presented by writing out of Allah’s name.

It is not sufficient for the lady artist to write „only“ Allah, or in the concrete case „Allahir-Rahmani-Rahim“, but she attempts to shape this divine name or the name of all names by using an explicit fine arts expressiveness.

Composition of pictures is very complex and bold, but it still has an order not allowing us to get lost within the conceptual contents. However, it is important to point out that this lady artist bases her concept on the transcendent effect of complete structure of the world, where the divine name (title) is notionally defined within the indefinite, out of space reflections, stressing in such way the importance of what is „written“ and how it does it. From all, vision, illusion and poetics of supernatural arises.

The lady artist relieved her imagination to form fantastic shapes which are interwoven and made into a fascinating arabesque, which due to its organic attribute, seems to be alive and acts in forming of the Arabic letters (harfs) and titles about the attributes of Allah. Thus, the calligraphic writing in Mateja’s works is the consequence of self-developing forms, which make the symbolic structures and pictures, ie. the fine arts interpretations of that noticed as the notional contents and the meaning of a picture. In such way, calligraphy got the visual dimension which is not only read and seen but which moves you to reflect.

All of this wouldn’t be so visually fascinating that the lady artist didn’t in a special technical way, realized her work, avoiding the stroke and the line, and emphasazing the dot as the subject unit of a shape.

The rest of the article you can read in the magazine.