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Dérive et continents
Dérive et continents Dérive et continents Dérive et continents

Katarina TERMACIC - Dérive et continents

Calendar Exhibition from 05/02/2024 to 01/03/2024, at the gallery in the Palais de l'Europe, space A

Private view the 05/02/2024 17h-19h, at the gallery in the Palais de l'Europe, space A

Link to the artist's photo gallery : Galery

Katarina Termačić is a painter and engraver, graduated from the Paris Beaux-Arts in 1996, winner of the Verdaguer prize awarded by the Institut de France on the proposal of the Académie des Beaux-Arts. She was born in Paris in 1969 and has been living in Picardy for nearly 16 years. Her artistic career, which began with studies in applied arts at the Duperré school in Paris, led her to discover the various techniques of engraving and drawing, which remains her main means of expression to this day. The poetic and intuitive figuration generated by all kinds of accidents offers to see hybrid beings at the same time human, animal and sometimes landscape.
Exhibition "Anima"
ANIMA, radical of the French word “animal”; breath of life, soul. It is the principle that connects us to the world and makes each of us a part of everything. Anima is also the title of playwrighter Wouajdi Mouwad's stunning and unforgettable novel, in which the journey of a disconsolate man in search of/meeting his wife's murderer is told by the multiple narrators that are the animals around him. And the memory that remains from this reading is the suffering that will lead the hero to the sacrifice of his soul without his voice ever being heard. The character is drawn in hollow. With just one letter, ANIMA would be a palindrome in French. The letter that creates the imbalance offers a way out when reading backwards. Katarina sees an analogy with her permutable diptychs, or how by interchanging the panels a completely different story is told from the same elements, how what is an almost out-of-frame setting in one (pro)position becomes the main motif in the second. Although the elaboration of her simple paintings is less specific, it proceeds from the same beginning as the diptychs. Indeed, it is after the tracing of random forms, sometimes guided by the sole search for colours, other times for balance, if not for materials, that a figuration takes shape, which she only has to welcome to shape, refine, and often purify so that a narrative, known only to Katarina but interpretable by all, takes on meaning.