visual worlds
Dalip moves with his art in a field of tension, which resulted on one hand from its origins and on another hand at its current socio-cultural environment which is located in the Western art. Born in Kosovo, in a large family in a small village, he returned to his roots, not only because of the national conditions which are very different to the western patterns. The significance of art, yes, to his point of view and access to art at all, he had developed in an entirely personal way.
His travels across Europe as a young, gradually made him familiar with those values, with which Europeans north of the Balkans grow up from their childhood. Historic architecture, museums, in which the cultural heritage preserved and shown, academies, in which the reception of art as self-evident already starts with this tradition in the 20th Century , art markets, which for the layman as opaque entities involving conglomerate from private donors and public subsidies to act – all that was there from the position of a “ArtManiac” to explore, absorb, process, and finally in order to be able to work themselves. These experiences have been rapid steps in a learning process, which empowers Dalip to his own artistic handwriting, but whatever it especially far away from its origin, initially a major impetus for his artistic creations formed.
It follows inevitably that his references are not post-modern, although there are parallels to works of well-known European artists. Von Jawlensky erratic heads to Horst Antes “Profilfüßler”, from Henri Michaux`s script brush gesture on the origin of the collage at the beginning of the 20th Century can be related moments constructed, which is not certain how they in the conscious or unconscious creative process Dalips penetrated and anchored. Psychologically, a lot could be explained by the fact that from the beginning of his artist life through his interest in the field of art, in which he follows almost a four-coordination movement and which arise from both the historical conditions as well as parallel to the current time which leads to an constant redefinition of his artwork. Naturally it is not always easy to locate the own position in the ad hoc coordination jungle. Only time and some times even physical distance breakthrough to a more precise determination of any, subsequent correction.
In spite of any Modifications and Adjustments which he has been exposed there are some constants in his art, which still allow a wide field of work. From his personal history, he developed two themes that shows a vague notion of his art work.
The “Kopfmotiv” runs like a thread through his work as well as his so called diary records. He tries with the first a personal interpretation of a millennia-old theme of art history to go apart from role models and to solve its own access to find out which allows him, to formulate some generally admitted points of view about the humans, so he pursued with the revision his diary sketches an opposite way. Thus he holds the first of his creative process in his own artistic language that stated what he saw, heard and experienced. The initial information, the original, spontaneous impulse, which he expresses in the first step on the small drawing, in a second trial rearranged on the canvas in a new reference system finally brought a new gesture to be revised. This gives each piece of art several dimensions, not only formal but also substantive. Either it´s a brilliant way to narrate stories in a very traditional way of telling it linear and comprehend or, the templates according to purely aesthetic point of view and be applied to a whole new story without any claim to logical comprehensibility of the stories, but purely aesthetic considerations.
These two activities require different artists from the perspective and approaches that differ only in the intersection of the reflection of their respective graphical or pictorial transposition meet. Dalips functioning both in the picturesque area as well as graphically given by the swift, unconscious gesture partially characterized. An already earned, often recurring subject vocabulary is often replaced by a new, surprising added impetus. This can be used both by formal considerations but as well as created by new patterns of movement. This constant change of conscious and unconscious production method is, however, to point this out in the language of the music theory, described by the two basic themes, such as a bass underpinned.
Dalips search for new expressive possibilities and extensions of their own repertoire inevitably led him to work with the computer, which he reinforced in his work. The construction and deconstruction of images and the simultaneous storage and data destruction indicates that the tension of Dalips artwork extended not only technically, but also expand his artwork in the broad field of modern media theory. The theoretical preoccopation with the function of art, questioning the eligibility of an artistic handwriting and the new imperative of their own art inevitably raises a number of questions. Dalips work will take place due to the current discussion of these issues likely to expand and / or modify. The art of Dalip will go a major step foreward with this new development in his work.
