Ana del Valle thanks❗

[Zorica Obradović]

As a rule, I don't comment on the mail-art I receive, because I view it as a gift, and my sense of etiquette doesn't allow for that kind of play. However, Ana sent me a collage that I have already commented on publicly online, so this time I will make an exception and leave a small piece of my thoughts in the comments

[Zorica Obradović]

Ana,

thank you too for creating art,

for loving words about art,

and for the good vibes.

Yes, to be completely honest, a good psychoanalyst would probably say that I was inspired (or encouraged, or filled with joy) by the way you complemented the attached visual art with language...

💌

[Ana]

Dear Zorica,

​I honestly don't even know what to say—I am completely overwhelmed and deeply touched by your words! Thank you so much for taking the time to write such a thoughtful, detailed, and generous review of my postcard.

​I have only been making collages for a few months and I still very much consider myself a beginner, so reading such a profound and poetic interpretation of my work leaves me truly blushing and humbled. Knowing that it resonated with you on such a deep level means the world to me.

​Thank you again for making an exception and sharing this beautiful commentary. Sending you a big warm hug! 🩵🩵🩵

[Medwolf]

Totally cool

[Zorica Obradović]

This collage composition is a striking contemporary work that combines elements of surrealism, pop art, and psychedelic aesthetics, creating a layered narrative about human effort, perception, and cosmic order.

At the visual center of the piece lies a fascinating dialogue between two opposing, yet interconnected forces. On the left side, Ana reinterprets the ancient myth of Sisyphus – we see a miniature male figure in the midst of intense physical exertion, pushing a monumental boulder uphill. However, in the manner of pure surrealism, this boulder transforms into a circular stone frame that encloses a close-up of a woman's face.

The contrast between the raw, muscular effort and the static, melancholic beauty of the female portrait introduces tension. The woman's face, reminiscent of mid-20th-century fashion iconography, appears alienated and timeless, becoming a symbol of the observer or of destiny itself, watching over eternal human labor.

A vibrant, expressive palette dominates, led by shades of purple, magenta, and lavender, which create a dreamlike (oneiric) atmosphere. The background is treated with gestural, visible brushstrokes, suggesting the fluidity of space and time (akin to a cosmic nebula or a swirling consciousness). The moon disk, rendered in muted gray and white tones with a pronounced texture, balances the composition and emphasizes the cosmic, almost mystical subtext of the scene.

Textural contrast is a key device: the rough, fragmented textures of the rocky landscape and the stone ring sharply contrast with the smooth skin surface (incarnadine) of the female portrait and the fluid paint applications in the background.

The technical process directly draws on the tradition of Dadaist photocollage (reminiscent of Hannah Höch's works) and the surrealist landscapes of Max Ernst or René Magritte, where the displacement of objects from their primary context gives birth to new meaning. On the other hand, the use of a female figure with emphasized makeup and red lipstick evokes the aesthetics of pop art and the critique of mass media.

This work successfully intertwines the intimate and the universal. By transforming heavy physical labor (pushing the stone) into an act of carrying or revealing a woman's face, the artist opens up space for various psychological and philosophical interpretations – from the struggle with one's own animus/anima, through the burden of idealized beauty, to the existentialist absurd presented through an aesthetically refined form. It is a technically mature and conceptually intriguing achievement.

In essence, I will probably go back to the red lipstick of my youth.

©zorizza