Dusa Jesih, not titled, a tryptych from a cycle of paintings "Embedded", acrylic on canvas, 3x1,5m, 2010
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»… By paintings of Duša Jesih we meet with a methodical deconstruction of painting field, which has no more function of a projection screen on which we could see a reflection of minimized model of present reality. This painting is wired to autonomic territory of color and tonal entity perception, controlingly established with a mixture of authors' imagination and care for propositions of compositional articulation that is a priori defined with the fact of two dimensions that are chosen for a ground and with dimensions of canvas... Painter divides the surface with linear construction to nonsymmetrical segment (basically geometrically shaped), but from there she does not follow the path of rationalistic poetics on which base opartistic and neogeometrical trends. She intervenes by separating parts with layers of paint so that the rhythm of her movements is recognizable as an intimate writing - with (for her) typical accents, cadences of intensity with more or less expressed gaps. The chosen color palette is tranquil, without out-jumping contrasts and complementary juxtapositions. Therefore separate painted parts affect together compound, as if they were well sorted out sentences of one musical composition. As I said already, form in her paintings is shaped with primarily defined division of surface and it seems that Mrs. Jesih focuses all her interest to expressive suggestibility of colors. They give us – without rhetorical bravery - a hint of states, feelings, and moods with different registers of feelings - authentic emotional and reasonable reactions to psychophysical reality. These responses are materialized in the structure of colored surface – as most exposed syntactic elements from the inside of her carefully chosen painting vocabulary. That also aloud articulation of refined statements without metaphor or (and) linear double meanings. Hesitating lyrism of these paintings addresses us with its simple ephemeral whisper; it doesn’t search for »big existential story« but focuses to an instant state of subjects' perception on things and events which many too often miss to register or register it only as non important details.«
Brane Kovič, critic, Ljubljana, 2006
