What are the colors of Rumi's poems is art work that has something to do with the truth. My form of painting is an internal search, while my work is search for the external.
Each individual, at the level of visual presentation, can be intentional, but it is always extensional in relation to painting and art. This expression of art is not just the achievement of relation as it seen in the "traditional" form of art; it is rather a correspondence between the artwork and the world of art among other worlds of culture. I love to give to the observers an opportunity to look at the objects on the paintings and to interpret them infinitely.
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Chocolate & Art Show, The MonOrchird, Phoenix, AZ Sep 2016
Traces of the Lucid Symbols, 4 artists, Bosnian Cultural Center, Tuzia, Bosnia and Herzegovina Nov 2014
Traces of the Lucid Symbols, 4 artists, Bosnian Cultural Center, Sarajevo, Bosnia and Herzegovina June 2014
Chocolate & Art Show, The MonOrchird, Phoenix AZ Sep 2016
Lucido Members Exhibition, Hotel Lukavac, Lukavac, Bosnia nad Herzegovina Feb 2012
Lcuido Members Exhibition, Cultural and Info Center, Srebrenik, Bosnia and Hersegovina Marc 2012
Colored Verses, National Museum of BiH, Sarajevo, Bosnia and Herzegovina, Nov 2015
What are the colors of Rumi'a Poems?, Open House, Scottsdale, AZ Sept 2013
Symbols Painted by Sand Vol 2, Squash Blossom, Phoenix, AZ Sep 2013
Symbols Painted by Sand Vol 1, Bock Hotel, Vienna, Austria Apr 2012
Symbols Painted by Sand Vol 1, Zetra Olympic Hall, Sarajevo, Bosnia and Herzegovina Jun 2011
Alma Telibecirevic, born in Sarajevo, Bosnia and Herzegovina, studied painting and education at the Classical Academy of Fine Arts in Sarajevo, has exhibited in Bosnia, Austria and the United States. Lives, creates and loves in two continents.
Like art, playing ball begins with a solitary act, by taking a ball in one’s hand and throwing it. Like art, a ball travels from its starting point and travels towards the social, the realm of nature and man. One can never repeat a throw exactly, for the spherical shape of a ball does not allow us to keep it under control.
Telibecirevic’s work has something to do with the truth. In order to be around and about the truth one must have some sort of criteria. Miss Telibecirevic is a painter. I would say that her form of painting is an internal search, while her work is a search for the external. Here, internal search would refer to the states and the process of the world of painting and painting as art, while an external criterion (non-painting media) is the text. This concerns the question of the picture and references, in other words, finding a way for establishing references. Painting is a reference to an artist’s work, while her new opus gives a new visual discourse for painting, i.e. reference.
One more time, her exhibit features pieces of art through different mediums: acrylic and sand, while inspiration has been drown from Rumi’s poetry. I believe that it is necessary to reflect upon Rumi because it is one of the most widely read poets in America and is seen as a new philosophical force. He deals with human condition, personal growth and development in a very clear and direct fashion. The world of Rumi is neither exclusively the world of a Sufi, nor the world of a Hindu; neither a Jew, nor a Christian; it is rather a state of an evolved human who is not bound by cultural limitations.
Equally, trodden paths do not bind Telibecirevic’s work. She creates by playing with artistic materials in tune with the notion of freedom and affinity without prejudices. At first glance, Telibecirevic’s work can be divided into couple of periods: “Symbols painted by sand vol. 1”, “Symbols painted by sand vol. 2” and "What are the colors of Rumi's poems?". Every opus appears as a deconstruction of the one that preceded it. Each individual work, at the level of visual presentation, can be intentional (Dervish, Elephants, Red Sunset, Abstraction, Birds, Tree and so forth) but it is always extensional in relation to painting and art.
This expression of art is not just the achievement of a relation as it is seen in the ‘traditional’ form of art; it is rather a correspondence between the artwork and the world of art among other worlds of culture. By successfully keeping track of the contemporary developments in fine arts, Miss Telibecirevic offers another intriguing means of presentation while gives us an opportunity to look at the objects on the paintings and to interpret them infinitely .
Dragana Kantarevic, anthropologist Belgrade, Serbia