The research is based on the problem of visual representation of the moment in which a being experiences enlightenment, which by its nature is uncreated, invisible to the senses, indescribable by material elements. The artistic psychological analysis of the state of the body, mind and spirit in the preparation and during the performance of Marina Abramović, the figures of the saints on the icons of Andrei Rublev and the analysis of the emotional experience of the portraits of the Chinese artist Zhang Xiaogang, represents a separate body of research in which Ivona finds a connection and inspiration in the study of enlightenment and ways communication with the audience.
Starting from self-knowledge, studying religious-philosophical debates about time, being and existence, practicing different techniques of contemplative practice, these are the ways that Ivona searches for ways to overcome the physical dimension. The importance of the process of preparing the artist for the creation phase is emphasized, during which the creator inevitably projects his state of consciousness, while in further communication with the observer, the spirit power embodied in the image is transformed into an absolute presence that touches the human essence and enables transformation. It reduces the body to an instrument for reaching new levels of consciousness, freeing the soul, perfecting virtues in the pursuit of the highest good.
Shiron IDENTITY, Gabriel CREATION, Ivona COMPASSION, Lazar CHANGE, Srki PERSISTENCE, Pal WORK, Tasja HAPPINESS, Verona GENTLENESS, Ranko THE MIND, Orlando REALISATION and Ksenia Lea LOVE which appears in two forms.
The critical relationship is directed towards the individual on whom the progress of the collective consciousness depends, the awareness of the individual level that touches the spirit of the universe and contributes to order and harmony. Like the work of Zhang Xiaogang, a Chinese artist whose works were created in the atmosphere of the cultural and political crisis of the 60s and 70s of the 20th century with the feeling of the individual being constrained by tradition and a repressive regime, Yvona makes a departure from the social themes of the space in which she exists and turns to discovering primordial human identities that he considers necessary for survival.
The 11 SNAGA are beings sent from the center of the Universe and manifested on planet Earth, materialized by the birth of 11 giants given to humanity, symbolic bearers of terms assigned to them based on the dominant features that make up their power.
The characters that Ivona transfers to pictures and graphics according to the experience of the linear passage of time are not contemporaries, they are known through a sense of connection with universal time that erases the differences between the past and the future, in absolute unity with the moment, transience is erased, and the sense of time ceases to exist because we transformed into pure consciousness outside time and space – a moment that is eternal, just like consciousness itself.
The arrival of forces on Earth stirs up vibrations in the atmosphere, contact with the ground of the planet creates a powerful tremor, energy strings are set in motion and melodious sounds spread, announcing that the life of the force on Earth has begun. The sound effects that accompany the exhibition come from nature, they are the work of Vladimir Živković (sound designer) and Marijana Dujović (musicologist), given in the form of short musical tracks, they form a set of concrete and generated sounds with melodic and rhythmic parts played on different instruments.
Marijana Dujović states that the music inspired by assets is designed as the sound of other space that the forces bring with them to our planet. Music contributes to the absorption of the inner atmosphere, the union of the uncreated with the present through the experience of the harmony of the Sun and the mystical incoming light.
The visualization of the spiritual dimension of enlightenment suggests change and captures a moment that sublimates time into infinity, simultaneously uniting movement and absolute peace, in which everything happens but also ceases in the synergy of mind, body and spirit.
The focus is on the eyes, the medium of energy exchange, which with the effect of a mirror leads to introspection by absorbing the surrounding sensations, while at the same time the painting is a means of communication with the artist and hints at his presence.
The philosophy of Zen Buddhism inspired Yvonne's work on several levels, primarily related to the way in which the artist enters into a relationship with the world through self-knowledge, i.e. insight, through which she transforms the portrayed through the emotional and spiritual processes of her own being. Reduction is present in the work, there is no spatial determinant in the background of the picture that would obstruct the view, but it points to the void, the metaphysical dimension of space and time in which the past, present and future are condensed in the circular movement of eternity.
The void is an independent entity, it directs the accent to the actors of the canvas and their energy in which the light emanates from the monochrome background itself. The expression of movement in the process of creation in Yvonne's work creates energy vibrations with the application of colors, which is manifested by flickering contrasts in the play of light and shadows, by the transfer of the energy field from the creator to the observer, which establishes the presence of the spirit. The introduction of mystical light beyond the function of an optical phenomenon onto the flat surface of the picture represents a field of force that emits sensations beyond sensibility, hinting at the communication of beings at the level of the soul.