Clara BLEIBTREU [ FRANCE ]
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Lives and Works in Paris (France)
The full name Clara Jasna TOMIC BLEIBTREU, tackle in her work the themes of time, space and memory. In Ex Yugoslavia, Clara Jasna Tomic, as a young artist, introduced sound and radio as components of a plastic piece in 1989, on the occasion of her exhibition SQUARE or the creation of a image through the Radio, which took place following the fall of the Berlin Wall. This exhibition is a historical event in Yugoslavia since it foresees its tearing and introduces for the first time in Art history the radio as a media in the creation of a plastic work. Critics speak of it as art of the 21st century. Clara Bleibtreu , Ph D, in Art and Science of University Paris 1 Sorbonne, Assistant Professor at the Academy of Fine Art of University of Mostar /Bosnia and Herzegovina ((2016), Professor of applied Arts, Ministry of Education and High Education and Research France, at the Academy Creteil / France (2005) and Academy Versailles / France (2014), Member of French Federation of Artists and HULU Split (Croatia), Paris City medal for art (2009). | click on thumbnail to enlarge
1..LINE N°1, 2010 acrylic on handmade old canvas 19.5x19.5 in. | 50X50 cm.
US$ 8900.00
9..LINE N°9, 2010 acrylic on handmade old canvas 19.5x19.5 in. | 50X50 cm..
10..LINE N°10, 2010 acrylic on handmade old canvas 19.5x19.5 in. | 50X50 cm.
Clara Bleibtreu's working method consolidates research and creation; She finished her doctorate at the Department of Art of Sorbonne University in Paris and a graduate of a classical school of art in Sarajevo. Interested in the genesis of visual arts, she base her art on the very source of artistic creation, to respond by own image to this memory. Her analyzes research led here to create upon this unique in the world support: hand-woven canvases. Each of them has more than 100 years of age and is the guardian of a collective memory. She established a semiotic analysis of the plastic components of these motifs, and then used this visual language her interpretation of our legacy.
Clara Bleibtreu use the plastic vocabulary present provided in the tapestry without adding anything but only by readjusting the format and simply renewing the space thanks to the painting technique that recomposes it. Each painting starts from a tapestry, present a new space and a new generation, an update of history. The strong visual balance is presented .
Using a production technique of acrylic, different from the one used by the women who initially created the object, Clara Bleibtreu formulate a connection between two artistic spaces - painting and weaving: from this interweaving of times, spaces and memories springs her work .We can see the dynamic of analysis of the image by the image. By moving the tapestry in an aesthetic and artistic context Clara Bleibtreu emphasize the very principle of spatial-temporality and how a utilitarian object of primitive technique constitutes for us an object of memory of Art. She preserve this memory.
She desire to preserve the motives found at the very beginning of the creation of abstraction. In the space of painting, the tapestry and its memory are recontextualized in a post post-modern time. The plastic vocabulary of the Neolithic period is used for contemporary creation. And therefore, Clara Bleibtreu think that her duty as an artist is accomplished. The long memory is visible.
Her researches on the Genesis of the decorative arts of 1979-1988 and the Neolithic period, of which she is an expert, made her go across the wildest mountains of the Balkans for several years. In isolated villages accessible only by foot, women worked their tapestries in Neolithic technique, repeating the motives that have been passed on from mother to daughter without drawings, for centuries. Women weave the same motives, respecting the same proportions from one village to another, without ever meeting each other.
These tapestries and their unmoved proportions fascinated Clara Bleibtreu and she gathered a collection unique worldwide. She use this collection for the creation presented here. Today these villages are no longer inhabited; after the 1990's war, new technologies and motives replaced the ones perpetrated for centuries. The memory transmitted for thousands of years is no longer transmitted. The plastic components of the beginning of the abstraction are simple, but allow innumerable variations and express a contemporary visual language in work of Clara Bleibtreu, during latest 35 years.