(Octavio Hernandez Jimenez, Writer)
“Matijasevic confronts his thinking, hard to gnaw, with an individual technique that in his career, is becoming in reference point. This is the most dissatisfied artist with the technique we can found.
Do not want never to accommodate it, being invented by others or by him. He started experimenting with engravings in cement which had on unusual national and international deployment.
Then, passed engraving in ceramics of pleasant remembrance in his elusions to the Spanish conquest now he interferes with computers without leaving anything in the classical area of drawing…
Regarding to his work the author expresses:
I investigated on several procedures in artistic impression for 25 years. Process that led me to Start the engraving in cement and engraving in ceramic (with the ones I made 200 works submitted by about 20 individual samples) proceeding from there I recently found a range of organic substances that treated appropriately, let me something I never assumed :To create pictorial works in two stages.
In the first stage (time-step) the work consists complete and only in black and white, getting in a second time that a scanner (willing to do that) interpret in several ways those same initial monochrome substances, to create inside the computer an unusual colourful: Variable and modern this process not comparable with traditional methods of monochrome sketch, since, that in it to go from the sketch to the final work, the whole work should take place again. From this new system I got to respect the motives actions, initial gesture and rhythmic carried out only in white and black, which were exactly reemployed in the computer, whit the added in it of a digitalized colourful.
All this led me to a pictorial action, that had never been possible course. The bifurcated creation of form and colour, now, full autonomous and independent of each other, so that, at the time of compositional forms, lights, shadows, and meanings, the work reaches to birth accomplished throughout smallest detail, but without the intervention of any sort of colourful, to then, in a second time, come to create, situate and make the colour to flow above the initial monochrome work.
This system, whose result I have determined “Dibujes” then part of total manual monochrome act (ad also outside of computer to complete only chromatically inside the computer itself) I hope it be a fertile creative planning to the visual arts of the twenty-first century, from the criterion that the history of artistic techniques is the one hand full of numerous minor techniques that barely subsist next to a small handful of greater techniques that attract the attention of the later of the main creators of the World plastics.
I want to position “Dibujes” as a major technique , although I know that for me to Start to do it ,I must prevent the misunderstanding that appears as a creative process of diffuse origin, vague or without a clear intent.
What I have investigated in engraving, as I said, occurred at the beginning engraving in cement and engraving in ceramics and now produces “Dibujes” it is based in the purpose of general reconsideration of the criterion of the original parallel to the amateur development technical and procedural of these techniques and particular of “Dibujes” . It was also necessary a conceptual development concomitant that was complete when I built the double Standard of the original touched in first term and, the original seen in second term referring with the first to the original work as a touched thing directly by the author, and with the second to the original work as a seen thing by the author when completed the creation of the work itself. Well, both criteria (of the original touched and the original seen) birth naturally intertwined over the same purpose as we determinate the original plain. But, both cases , the pass of the time will go relentlessly separating them. To the point that many authors of the past Would have trouble today not only to recognize, but, much more to accept as well successful their own creations if they could see them with the gradual weight of years, decades an centuries they fall over.
The ageing of an artwork seems to imply a value for collectors but, now that the accuracy of digital files aims to halt that ageing from the visual appearance and therefore not reliably get back to what one author touched, but, to what one author saw when completed his creation. It seems valid to assume that collectors could to be interested more in the original seen, than in the original touched. Well, parallel to this technical-conceptual development “Dibujes” proposes a new marketing for two dimensional art works created under his aegis and therefore consequent with these Ideas.
The works being sold have been Developed with the highest standards of quality in terms of durability and resistance to the most diverse factors that menace any work of two dimensional , including, naturally of course those carried out in more traditional techniques, among other factors UV lights, humidity, sudden temperature changes, fungi, insects and air pollution, against all of which “Dibujes” opposes an arsenal of strategies Developer by technicians of digital printing, worldwide that offer durability to the techniques of high historical run. As it were little the author guarantees that any deterioration even accidental (type what so ever, including beatings, tears, effects of fires, floods, etc). A work of (“Dibujes”) entitles its holder (possessor) to claim a play identical to which initially received, upon surrender of the work destroyed or a least the assume sector that includes the signature of the author, with only paying a small amount for its new packaging and shipping. That “Dibujes” guarantees every customer may continue indefinitely watching the work from the beginning he saw and called his attention without any of these risks that ageing and accidents produce in the traditional artworks.
Please let me know any concern or opinion about it. That I will be very grateful for that.
