In the background and foreground of endless order and structure in Dusa Jesih's paintings
Her painting is founded on merging geometrical shapes. Her paintings merge shapes, which all tend to unite while remaining equal. None of the parts is superior to any other part.
Geometrical shapes featuring on her canvases always tend to merge and co-exist rather than oppose one another. This tendency can be usually observed in the middle of the pictures where the shapes are completely autonomous and irregular.
Jesih's works are characterised by strings and repetitive patterns of oblong rectangular shapes. Some of them look like lines, which creates the effect of dynamism and transition beyond the surface of the painting.
Darker and nearly black shapes, which are usually rectangular and extremely oblong, always linger in the middle of the paintings. Their arrangement and form force them to extend to the left and to the right. And this endless continuation is a metaphor for every single work of Dusa Jesih.
Everything extends outwards from the surface. What seems to be spreading out form the field of the painting into the apparent imaginary space is, in fact, infinite. That space is endless, eternally undone and boundless. The way lighter shapes are arranged gives the impression of slots that provide insight into the background of the image and the world beyond.
Darker shapes in the first layer direct our gaze to the second layer featuring seemingly lighter shapes, which are actually the basic surface of every single painting by Dusa Jesih.
In this way, they symbolise endlessness and eternity. The space opens up, expands and remains open to the gaze. With very few exceptions, the shape that touches the edge of the canvas on one end is never completely "visible" because it transcends it. However, the shapes bordering it gradually melt the predominance and supremacy of the painting, which is only partially limited by the surfaces of the geometrical shapes.
As for the colours, they reflect the fundamental experience and sensation in the moment of painting. Curator Milos Basin, Bezigrad Gallery, 2016