Through my work I investigate the concept of presence. I use digital software as an internally focused lens and as an extension of my thoughts. I consider all my artworks to be paintings.
Hana Jurić is a Croatian visual artist working in the fields of painting and new media. In 2014, she graduated with the title of Master of Education in Fine Arts from the Art Academy in Osijek. After graduation, she lived and worked in Canada, Portugal, and Austria. In 2019 she returned to Croatia and started an independent art gallery Moja Soba in Zadar.
Prior to becoming an abstract artist, I have created many self-portraits and analyzed my body. The figures evolved into sequences, an experimental art form in which the order of the pieces creates a narrative – similar to a movie or a cartoon. Abstractions appeared in my sequences as interludes or interpunction signs. Finally, they caught my attention as the most important part of my work. I have always dealt with the concept of presence, and I was inspired to take a permanent leap from the question – “Who is present?” to – “What is presence?”
My fascination with digital art stems from childhood. My dad worked with computers, and I was enchanted by the glow of the digital screen from an early age. It was the very first canvas I used in the 90s. I explored the traditional techniques during my education, but whatever I seemed to do, I would get pulled back to the shimmery digital world. Digital software offers me straightforwardness and candidness which I cannot find in any other medium.
I often ask myself “what is painting?” and even more often than that redefine what it means to me. Is it an object or is it an intention? Despite the apparent absence of the “human touch” and the traditional materiality, my paintings are inspired by my inner world and derived from emotions and poetry. I believe that the digital possesses a materiality of its own.
Still, the physical output of the digital file is a part of my research. I am curious if there is another dimension which will complement my paintings and is it even necessary to extract the work out of the digital space. The digital qualities can sometimes be diminished by paper prints, so I am experimenting with plexiglas, lenticular prints, and lightweight textiles.
My paintings are a form of meditation practice; hence I named the technique “digital thoughts”. I was inspired by variations of the light blue color (#c5d0d4), as I found it evocative of both internal liminal space and the sky. Low contrast and abstract phenomena which are appearing and disappearing from that space reveal the formation and fragility of a thought, while the light blue backgrounds allow for an expansion of my mind.