CRITICISM
CRITICAL TEXT
In these wooden sculptures the code of silence moves away from the ancient ethereal plomb of classical art. The artist is the guardian of a wonderful territory, a condenser of contemporary sensitivity with a
logic taken to the extreme towards a synesthesia of the senses. The subjects are shown in classic bearing, but they wear the clothes of modern man and his ordinary existence. The seductive power of these images lies in the choice of interior detachment to which the artist has destined them. She equates modern emotionality with the attitude
absent of classical statues, called to represent an ideal humanity. The compositional structure of the works is good and
the psychological rendering is very poetic. Original modern components enhance the work in its overall reading and make it more easily accessible to the general public.
CRITICAL TEXT
In Marija Markovic's work there is a progressive path that starts from the research of volumes studied as a reference to the human body. In particular, the reference is linked to the female body. but they are modeled to be made of bronze specifically to express both the idea of the representation of the subject itself. and the representation of the material inviting the viewer to find a tactile contact with the sculpture. All this is amplified when she represents breasts that touch, or rather, that lean against each other in different types of marble, each with a different color. Without prejudice to the importance of using different types of materials employed, and the relationship that she tries to create with them, or that which comes out of all these sculptures is the relationship between Body - Form - Contact. She tries to make the viewer feel, even as a play of forms, that sensuality that in some cases borders on eroticism, and that is reinforced through tactility. The à and the Sensuality change according to the material chosen by the sculptor, also for this last phase of work, Markovic is also working with different materials, and is experimenting to create her latest works with a material that can respond to the pressure of a finger to get closer to the idea of soft.
