Soil – SpaceFormJerusalem

Djordje AralicaBelgradeSerbia


16 x 9 x 25 cm

Terracotta fired on 900 degrees C, 25x16x9cm (9.84x6.3x3.54in), signed on the concave side. The piece was made for my cycle entitled SpaceFormJERUSALEM, which was inspired by the impressions collected during my ten-month long sojourn in the fascinating city of Jerusalem. The exhibition catalogue discribes its major sentiment: SpaceFormJerusalem The recent body of work created by Djordje Aralica explores the artist’s relationship to his temporary home in SpaceFormJerusalem. It was here that our paths crossed in early 2007, and it has been both an honor and pleasure to become his friend. While the sculpture of this series inconsistently architectonic, evoking both pre-modern and contemporary architectural forms, Djordje has chosen to render the pieces in terra cotta, a medium which has a long history dating back to antiquity. The juxtaposition of elements of the past and present in his work is a metaphor for the seemingly inherent contradictions found around every corner of Jerusalem. In this way his work evokes the modern city with its long and rich past, which struggles to accommodate all of the trappings of modernity. One of the most visible examples exists in the contemporary architecture and public monuments of Jerusalem which appear often to be in conflict with the surrounding environment. Several of his pieces are displayed to represent a similar disjuncture. In all of his sculptures—whether those that are strictly geometric or those that are more organic—he experiments with the interplay of light and shadow, solids and voids, as well as texture to create pieces which convey a sense of quiet monumentality. Moreover, his work emphasizes simple lines and basic forms: for it is in the absence of excessive detail and ornamentation that the viewer is able to grasp the mediation of past and present which is embodied by Djordje Aralica’s work. Karen Britt, PhD, Art Historian

WOOCS 2.1.9


1 in stock

Usually, the place where I live at any given moment, with its daily routines, dictates the choice of my subject matter. As a rule, I am interested in the objects of everyday life, which appear to be surprisingly uniform wherever you go. In my work, they unite collective and personal experience. I never recycle real objects in a manner of an assemblage, but rather present my own associative, monumentalized interpretation of their form. My choice of medium and mode of craftsmanship both suggest underlying narrative context, but also provide monumental quality of architecture to my works. My objects are reduced to a gallery format, but I see them as large-scale urban sculptures evocative of common human activities.


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