“Pocket edition in transition”
“Shape and deformation of shape, gestures, colour and rhythm, that gives forth to my works I don’t try to explain in terms of globalisation, not even as a break with fine art tradition but mostly as an expression of my own inner translation of all that I receipt and that touches me. My main concept is not a naive tendency to change the world but rather an attempt to upgrade my inner development, which pushes on both – my creations, based on emotional level and also the level of my individual searches that are not excluded from the context of social development.” “(Dusa Jesih)
The artists' words point to her engaging work, they point to her ability of fabulating on a surface with elements of painting, drawing and collage, her images "talk" of her ability to avoid imitating function of a subject in reality. But still we can trace it and imagine it when we let ourselves go into a truth of the visual metaphor.
Dusa Jesih does not restrict wideness in her gesture - despite her "Pocket edition in transition", as she likes to call a range of her small images.
Aleksander Bassin (June 2008)
Drawing in Slovenia II. 1940-2009
Uncertainty weather Dusa Jesih chosen works in "Pocket edition" are drawings or pictures is redundant. The mosaic of miniature drawings is in fact a series of concluded compositions imbued with dynamic painting emotions. Interplay between painting and drawing elements in her work is a condition for creation of an integrated visual thought, at an organized surface of the paper bases.
Extreme gestural freedom of her creative process is continually being renewed in itself. Coloury saturated structure is held with a neutral line in the core - and vice versa.
In this colourful atmosphere one can often detect presence of figural presence, that lifts from an non formal gesture; and relatively frequently the automated flow of brush movements are stacked together with an uncorrelated range of letters.
Crossing between mimetic and non mimetic threshold in Dusa Jesih's artistic creation is a mode of testing the originality of one’s own painting "manuscript". Colour basis is a step forward to the layers that are dissolving mental stringency into fantasy of image.
All these small inventions of spaces, that are organized in chain of sequences, theatricalise the whole integrated space of imagining - they are much more then fragments of hypothetical landscapes, they are images from beyond of reality, they are imaginary scenes of art space.
Majda Bozeglav Japelj (2010)
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