TEHNIQUE

 

AHAVAH - ENDLESS LOVE


I was working on the problem of love being limited by another person, country or nation, even the planet itself. I therefore took the painting across the borders of the square, so that the mobile hands spread through space thus making love spread into infinity. However, by turning one hand I achieved one other movement - the girl is actually turning in space thus spreading love in circles - equally in all directions. At the same time I tried to convey the feeling that the girl is hugging whomever is standing in front of the painting.
That way I presented All and One, or the philosophical definition of divine love. That is the love alchemy symbolically denotes as the fifth element, the quintessence or the essence.
The basis of this painting is actually in the Kabbalah teaching of Love or in Hebrew - Ahavah. In a religious context it is the love of God for each individual being, and at a human level it is the love of man for God, manifesting itself through love for all the people and living beings.

AHAVAH - BEZGRANIČNA LJUBAV


Radila sam na problemu ograničavanja ljubavi drugim čovjekom, zemljom ili nacijom, pa čak i samim planetom. Zato sam sliku proširila izvan ograničenja četverokuta, tako da se mobilne ruke šire kroz prostor čineči da se ljubav širi u beskonačnost. Međutim, okrenuvši jedan dlan dobila sam još jednu kretnju - djevojčica se zapravo vrti u svemiru i tako ljubav širi u krug -na sve strane jednako. Istovremeno sam nastojala postići da individua koja stoji pred slikom ima osjećaj da je djevojčica grli.
Na taj sam način prikazala Sve i Jedno, ili filozofsku definiciju božanske ljubavi. To je ona ljubav koju alkemija simbolički označava petim elementom, kvintesencijom ili biti.
Temelj ove slike zapravo je u kabalističkom učenju o Ljubavi ili hebrejski - Ahavah. U religioznom kontekstu to je ljubav Boga prema svakom pojedinom stvorenju, a s razine čovjeka to je ljubav prema Bogu koja se manifestira kroz ljubav prema svim ljudima i živim bićima.

ADAM KADMON - MAN OF CLAY


" To the image of God he created them. A man and a woman. He created them."
Adam Kadmon or the first man made of clay - homunculus, was created by God after his own image, and this name is used to express the notion of "the body of God" or entire creation. While I was working on this installation, using an old mirror and a photograph, I wanted to show Adam Kadmon through the aspect of soul (Neshamah) which is at the same time the word which means breath or breathing, relating to the first breath with which God gave life to Adam. Since this is about one soul containing all our souls, I tried to show with this installation how our souls reflect one another.
The installation functions only in interaction with the viewer. He sees himself in the mirror, simultaneously seeing me in himself, just like all our souls lie inside each other.

ADAM KADMON - ČOVJEK OD GLINE

"Na sliku Boga on ga stvori. Muško i žensko On ih stvori."
Adama Kadmona ili prvog čovjeka stvorenog od gline - homunculusa, Bog je stvorio na svoj lik, pa se ovaj naziv upotrebljava i za pojam "tijela Božjeg" ili sveukupnog stvaranja. Dok sam radila ovu instalaciju, koristeči staro ogledalo i fotografiju, htjela sam Adama Kadmona pokazati kroz aspekt duše (Neshamah) što je istovremeno i riječ koja označava udisaj ili disanje, a odnosi se na prvi dah kojim je Bog Adamu podario život. Budući je riječ o jednoj duši u kojoj su sve naše duše, nastojala sam kroz ovu instalaciju pokazati kako se naše duše ogledaju jedna u drugoj.
Instalacija funkcionira jedino u interakciji s gledateljem. On sebe vidi u ogledalu, ali istovremeno vidi i mene u sebi, baš onako kako se sve naše duše nalaze jedna u drugoj.

ATAH - YOU

It is the word we use in prayer when talking to God. He is always the first YOU in our lives, so whenever we say YOU, the pronoun contains the echo of that eternal YOU. That Kabbalah teaching shows God who is at the same time disclosed and hidden. However, that duality exists only from our point of view, for from God’ s point of view there is no duality. Thus, there are no differences in God, only in our perception of the Divine.
The Hebrew word Atah consists of the first (Alef) and the last (Tav) letter of the Hebrew alphabet , implying the significance of Alfa and Omega, the beginning and the end, while the letter H (Heh) stands here as the pronoun for the Holy name, thus telling us that the name does not denote an inanimate object - IT, but a living subject - YOU.
Due to this duality I conceived my work as a diptych, putting the Croatian pronoun YOU (TI) in the centre of each canvas. They also represent the initial division in the male and the female side. In this particular case I mark the left side of the diptych as the male one, and the right side as the female one, since that is the way to look at the Divine. The shape of the figures’ heads are supposed to represent the fingertips of His hands. The figures stand in prayer, just as Abraham and Moses stood before God - upright. The colours, black and white, symbolize "the white flame" - the written Torah and "the black flame" - the spoken Torah.

 

 

ATAH - TI

Riječ je o izrazu koji upotrebljavamo u molitvi kad se obraćamo Bogu. On je uvijek onaj prvi TI u našem životu. Zato svaki put kad izgovorimo TI, ta zamjenica u sebi sadrži eho tog vječnog TI. To kabalističko učenje pokazuje istovremeno otkrivenog i skrivenog Boga. Međutim, ta dualnost postoji samo s naše točke gledanja, jer gledajući sa strane Boga nema dualnosti. Zato ne postoji razlika u Bogu već samo u našem promatranju Svetog.
Hebrejska riječ Atah sastoji se od prvog (Alef) i zadnjeg slova (Tav) hebrejskog alfabeta što podrazumijeva značenje Alfe i Omege, početka i kraja, dok se slovo H (Heh) ovdje koristi kao zamjenica Svetog imena i time određuje da se izraz ne odnosi na neživi objekt - TO, nego na živi subjekt - TI.
Svoj rad sam zbog te dualnosti koncipirala kao diptih, pa se slova hrvatske zamjenice TI nalaze u centru svakog platna. Ujedno predstavljaju prvo razdvajanje na mušku i žensku stranu. U ovom slučaju lijevu stranu diptiha označujem muškom, a desnu ženskom jer je to način gledanja prema Svetom. Glave likova oblikom bi trebale predstavljati jagodice prstiju Njegove ruke. Likovi stoje u molitvi, onako kao što su Abraham i Mojsije stajali pred Bogom - uspravno. Bijela i crna boja simboliziraju "bijeli oganj" - pisanu Toru i "crni oganj" - usmenu Toru.

SHEKHINAH - GOD' S PRESENCE IN THE WORLD


The painting symbolizes Shekhinah - God' s presence or manifestation in the world we live in, which was sent into exile together with Adam after his fall. The Kabbalah tradition which regards The Song of All Songs (Shir ha -Shirim) as the Crown (Kether) of the Kabbalah teaching, percieves Shekhinah as a manifestation of the relation between the hidden God and lower worlds, as the love between God and his Chosen people. It is given the form of a Fiancee waiting for her Fiance. She is the bride of One and the Queen of the universe.The marriage of "the male" and "the female" principle is thus the synonym of their union, hieros gamos - the holy bond of male and female powers which renews the harmony of the whole universe.
The painting was created after the "opening of the first chapter" od The Song of All Songs: "I am black, but comely, O ye daughters of Jerusalem, as the tents of Kedar, as the curtains of Solomon", and the figure is immersed in blue as a sign that Shekhinah is viewed from the Sefirot of Wisdom. Since this level of experiencing God' s presence implies sound, Shekhinah in my painting has big ears "so as to hear Him coming". Her blackness is only the body, the clothes covering the light or the curtains (Pargodim) at the inner soul, as well as the tent made of dark cedar wood also used to build the Solomon' s Temple in which "a live God lives". The wreath of roses (the crown) which is beyond the square of the painting symbolizes the Great Sanhendrin ( The Council of Wisemen), the seventy men who, apart from Moses and Abraham, were the ones to hear the Word of God.

 

 

SHEKHINAH - BOŽJE PRISUSTVO U SVIJETU

Na slici je simbolizirana Šhina (Shekhinah) - Božja nazočnost, prisutnost ili manifestacija u svijetu u kojem živimo, a koja je nakon Adamovog pada s njime otišla u izgnanstvo. Kabalistička tradicija koja Pjesmu nad pjesmama (Shir ha-Shirim) smatra Krunom (Kether) učenja kabale, Šhinu doživljava kao manifestaciju veze između skrivenog Boga i nižih svjetova, kao ljubav između Boga i njegovog Izabranog naroda. Daje joj žensko obilježje predstavljajući je kao Zaručnicu koja čeka svog Zaručnika. Ona je nevjesta Jednog i Kraljica univerzuma. Vjenčanje "muškog" i "ženskog" principa tako je sinonim ponovnog ujedinjenja, hierosa gamosa - svete veze muških i ženskih moći koja obnavlja harmoniju cijelog univerzuma.
Slika je nastala nakon "otvaranja prvog poglavlja" Pjesme nad pjesmama : "Crna sam ali lijepa , kćeri jeruzalemske, kao šatori kedarski, kao zavijese Salomonove. a lik je smješten u plavu boju kao oznaka da se Šhina promatra iz sfire (sefirota) Mudrosti. Budući ovaj nivo doživljavanja Božjeg prisustva podrazumijeva zvuk, Šhina na mojoj slici ima velike uši "kako bi čula Njegov dolazak". Njeno crnilo samo je tijelo, odjeća na svjetlosti ili zavjese (Pargodim) na unutrašnjoj duši kao i šator od tamnog cedrovog drveta od kojeg je sagrađen i Salomonov Hram u kojem "živi Bog prebiva". Vjenčić ruža (kruna) koje se nalazi izvan okvira četverokuta slike simbolizira Veliki Sanhendrin (Vijeće mudraca), sedamdesetoricu koja su uz Mojsija i Aarona čula Božju Riječ.

MERKABAH - GOD' S CHARIOT


The teaching about Merkabah or The God' s Chariot of Tron is much older than the expression Kabbalah, which is confirmed by the Kumran texts, so that it became a part of the Kabbalah not earlier than in the 12th century. It is the teaching of the first chapter of the prophet Ezekiel. It is forbidden to hand down the knowledge of Merkabah. Knowingly and with understanding I accept this Talmud ban.

MERKABAH - BOŽJA KOLA


Učenje o Merkavi (Merkabah) ili Božjim kolima Trona puno je starije od izraza kabala što potvrđuju i kumranski tekstovi, tako da se ono smatra dijelom kabale tek od 12 stoljeća. Riječ je o učenju prvog poglavlja proroka Ezekiela. Predavanje znanja o Merkavi zabranjeno je. Svjesno i s razumijevanjem prihvačam ovu talmudsku zabranu.

THE MIRACULOUS ONE


This painting is the product of what is in spirituality called the astral journey. Such spiritual elevation becomes the vision of the moment at which man realises the real meaning of that which he himself is empirically a part of.
In the astral world the souls are still inside the membranes of shapes, so that is how I present them. At the bottom of the painting is my physical body in the nighttime meditation, for I follow the tradition of king David and meditate from midnight on, i.e. from the moment God created the world and began the first Day. The astral body rises through the elements of earth, water, fire and air so as to reach the "path of wisdom" where the teacher awaits me (Maggid). His sword in a sheath denotes a balance between power and mercy. The teacher teaches me what prayer is and how the soul flies towards the Almighty on a symbolic magic carpet, well-known from the legends about king Solomon, as well as from the Islamic tradition. The fact that I present myself as a boy means that I am in the phase of Zeir Anpin or The Impatient One, which is the symbol of the workings of the lower Sefirots striving towards the higher ones whose partzufim (shape) is Arik Anpin or The Patient One.

ČUDESNA

Ova slika nastala je kao prikaz onoga što se u duhovnosti naziva astralnim putovanjem. Takvo duhovno uzdizanje postaje vizija onog trenutka kad čovjek spozna pravo značenje onoga u čemu i sam iskustveno sudjeluje.
U astralnom svijetu duše su još uvijek u opni oblika pa ih ja tako i prikazujem. Slika pokazuje na dnu moje fizičko tijelo u noćnoj meditaciji jer slijedeći tradiciju kralja Davida meditiram od ponoći nadalje, dakle od trenutka kad je Bog stvorio svijet i započeo prvi Dan. Astralno tijelo uzdiže se kroz elemente zemlje, vode, vatre i zraka kako bi stalo na "stazu mudrosti" na kojoj me očekuje učitelj (Maggid). To što on ima mač u koricama označuje ravnotežu između snage i milosrđa. Učitelj me uči što je molitva i kako duša u molitvi leti k Svevišnjem koristeči simbol letečeg čilima dobro poznatog iz legendi o kralju Salomonu, ali isto tako i iz islamske tradicije. To što sebe prikazujem kao dječaka znači da sam u fazi Zeir Anpina ili Nestrpljivog, što predstavlja simbol djelovanja nižih sfira (sefirota) koji teže prema višima čiji je partzufim (oblik) Arik Anpin ili Strpljivi.

AVOT - THREE PATRIARCHS


This is about the teaching of Ten Sefirots which implies the sameness of micro and macrocosm. Ten Sefirots are placed into three vertical columns marked with green, white and red colour, which I often use in my paintings. This one was conceived as a triptych with yellow background denoting the acceptance of the teaching at the level of this world.
Inside the frame there are three Old Testament patriarchs or fathers of Judaism. Althoug I paint them in exactly the same way, Abraham and Isaac are marked with green and red eyes, while Jacob, in the middle, is colourless, denoting the central white column. All three hold Malkhut or The Kingship, the world we live in, the world of duality consisting of black and white cubes, their colour changing depending on the state we are in when looking at them during our lives. Only Jacob’ s path is not coloured, symbolizing the white path every Kabbalist should follow.
The explanation lies in the fact that the Kabbalah tradition believes that fathers are responsible for the life and behaviour of their children, especially when it comes to abiding the laws of God. Since Abraham’ s and Isaac’ s sons did not follow their fathers, the priority of the white path on which Sefirots are positioned from the bottom up, from Kingship to Foundation, Beauty, the non - sfira Knowledge up to Crown, is represented by patriarch Jacob because his sons excersised the will of God.

 

 

 AVOT - TRI PATRIJARHA

Riječ je o učenju "Nauke o deset sefirota" koja podrazumijeva istovjetnost mikro i makrokosmosa. Deset sfira (sefirota) smješta se u tri okomite kolone koje se označuju zelenom, bijelom i crvenom bojom, što često koristim u svojim slikama. Ovu sam koncipirala kao triptih žute pozadine koja označuje prihvačanje učenja na nivou našeg svijeta.
Unutar okvira nalaze se trojica starozavjetnih patrijarha ili očeva judaizma. Iako su istobitni pa ih slikam kao jednake, Abraham i Izak označeni su zelenim i crvenim očima dok je Jakov u sredini prezentiran bez boja jer određuje središnju bijelu kolonu. Sva trojica drže u rukama Malkhut ili Kraljevanje, svijet u kojem živimo, svijet dualnosti sastavljen od crnih i bijelih kocaka, čija se boja mijenja ovisno o stanju iz kojeg ih promatramo tokom života. Jedino put Jakova nije obojen niti jednom bojom, te je simbol bijelog puta kojeg svaki kabalist treba slijediti.
Objašnjenje leži u tome što kabalistička tradicija smatra da su očevi odgovorni za život i ponašanje svoje djece, posebice za pridržavanje Božjih zakona. Kako Abrahamovi i Izakovi sinovi nisu slijedili svoje očeve, prvenstvo bijelog puta na kojem su poredane odozdo prema gore sfire od Kraljevanja preko Temelja, Ljepote, (ne)sfire Znanja do Krune, predstavljene su patrijarhom Jakovom jer su njegovi sinovi izvršavali volju Boga.

GALUT - EXILE

I painted the moment at which "the snake" had already done its task, the moment of Ari Luria' s teaching about Tzimtzum, self - contraction of God, and of "breaking vessels". The painting is positioned in such a way that it is based on two ways of development in space - the circular shape or Iggul and the linear shape or Yosher, whose duality passes through the entire process.

GALUT - PROGONSTVO


N aslikala sam trenutak u kojem je "zmija" već obavila svoj zadatak, trenutak Ari Lurijinog učenja o cimcumu (Tsimtsum) - samosažimanju Boga, te "lomljenju posuda". Slika je postavljena tako da se temelji na dva oblika razvoja u prostoru; obliku kruga ili Iggul i obliku prave linije ili Yosher, čija dualnost prolazi kroz cjelokupni proces.