The world of Sanja Fališevac is unmistakably one of dynamic imagination, of stepping into the roles of others and otherness, and yet again, all infused with an undeniable feminine sensibility, with intimations and yearnings that reveal a richer experience and profound vital force. Judging by her approach to form, we can conclude that the artist seeks to present harmonious, well-proportioned bodies and to bestow her imagined beings with recognisable facial traits.
Knowing that Sanja Fališevac is a blind artist, one might therefore be surprised, at first glance, by the accuracy of her perception of the visible world and of her appropriate response to the potential demands of mimetic fidelity. However, we cannot be reduced to solely register this fact and must not satisfy ourselves with the statement that Sanja Fališevac creates “in accordance with nature” and offers realistic or veristic representations of female bodies and figural compositions. On the contrary, we have to try to immerse ourselves in the motivations of her creations and her methods of shaping. Beyond imitation or evocation of the ideal human figure, it is undeniable that the sculptor is particularly interested in activation of volume and mass.
From the very beginning of her artistic career in 1979, Sanja Fališevac has remained devoted above all to clay as a classical sculptural material. Furthermore, whether abstract or figurative form is concerned, she has been preoccupied with living and moving subject matter.
The sculpture “Ballet I” was made using the technique of patinated terracotta (from the Italian terra cotta—“baked earth”). This means the piece was first modelled in clay and then fired in a ceramic kiln. Finally, a layer of colour (patina) was applied on the surface. Patination can be carried out in a range of hues and in the above mentioned case, the patina is brown.
The sculpture depicts a female figure—a dancer—with arms raised above her head, slightly inclined and turned to the right. She wears a long and bell-shaped dress with ruffles. The ruffles leave a vivid impression of a turn while dancing in the eyes of the observer with their airy detachment from the body. The surface has a smooth finish without elaborate details. The recognisable author’s signature, the imprint of her right palm above the initials S. F., is imprinted on the underside, hidden when the sculpture stands upright. This sculpture is part of the artist’s series “Dancers” from 2011.
The Typhlological Museum in Zagreb has organised two exhibitions of Sanja’s artwork so far: “Ceramic Sculptures” in 1999/2000 and “Suspended Motion” in 2017/2018. Sanja’s imaginativeness is boundless. Her inspiration predominantly and most frequently comes from within. From her thoughts and from her imagination. From her own intimacy. Her works are concentrations and sublimations of collective consciousness in all its manifold complexity. Sanja processes this consciousness by means of a synthesis of intellect, emotion, and a unique sense of tactile perception.
So, enter the world of Sanja Fališevac’s imagination. Join her intimate space. Allow yourself to experience her art in the way it was created. Do not (just) look at it. Close your eyes, reach out, touch, feel, recognise...