I saw on Facebook that Cica Ghost has created a new art installation. I was intrigued by the fact that, from the photographs shared, this time the setting she produced was not as gloomy as the others.
I have always appreciated Cica’s artistic works, and technically I really love her modeling using Sculptris.
Perhaps, even more, I admire her imagination and the ability to communicate metaphorically.
“Sunny Day” is hosted by the Nowhere Region and occupies the entire homestead.
The first impression I had when I visited it, however, was not a feeling of joy, as one might think considering the title of the installation.
I thought that, perhaps, the reason was the characters faces expressions. Those ones that populate the artistic installation, many of them severe and authoritarian.
The characters who live “Sunny Day” look like stylized drawings made by children. I believe that making them in 3D is not a simple operation. In any case, beyond the technical complexity, it is the idea that fascinates me in a particular way.
Adults-children who live in an entirely stylized region that takes the form of a child’s drawing. The flowers that move cheerfully up and down, the sun with the smiling face that grows and shrinks alternating its size.
In the same way, the sea monsters that surround the installation remember the decorations that can be seen in the luna parks and that are intended to scare the little ones (having fun).
Yet this setting does not make me happy, there is a bitter taste behind this apparent positivity.
I’m looking for some Cica notecards that can make me better understand the installation, but I can not find it (there are some that illustrate her previous works, but nothing that explains “Sunny Day” to the visitor). I think the choice is intentional, as in the other installations of this incredible Serbian artist.
I understand the reason by reading the description that Cica has put in about land. This is a Roman Rollan phrase:
It is the artist’s business to create sunshine when the sun fails.
This phrase could also be interpreted in this other way: “It is the task of the artist to raise souls when God fails.”
And here is explained the sweet and sour taste of the installation. Light and shadow, positive and negative, a God who fails and an artist who tries to “fill” this deficit.
After all, art has a cathartic function for the soul, it serves primarily to the artist who frees himself without limitations and then to the observer who is called to see reality through the artist’s eyes. The observer then, inevitably, will put something of his own in the contemplative experience giving life, in turn, to a new artistic image.