By this oximoronic title of her latest cycle, the ceramics artist Vera Kovačić has most fittingly defined a dynamic and a dual nature of her inspiration. By that dexterous syntagma she has pointed out to her immersion and elevation at same time, to her longing for two elements featured with clarity and transparence: for water and for air. She logically uses as her expression material two elements that are completely contrary to the former pair – namely earth and fire: the point of creative activity is always in transformation and in change, in denying the known and the expected towards something different and new. The shapes suggested by the free, not-for-usage artifacts of this artist also belong to two confronted worlds. From one side they refer to wings, from the other to waves. Of course, in both cases the outlines are organic, elastic, aerodynamic; they count in the setting in motion and the successiveness. That is why this new cycle dexterously continues the earlier wholes of the authoress, her structural researches, her weighted relationships between particular compositions and surfaces, her balanced and methodically wrought serials and groups of similar contents.
With her “Depth flight” Vera Kovačić boldly enters in the very nature of her chosen matter, negates its gravitation and inertion, researches the limits of endurability and suppleness. By means of “fire baptism”, that is by the ordeal of shapes in the kiln, she liberates herself of everything superfluous and unfitting, reaches the purity and suppleness, roundness and sonority. Her definitive form still seems to be burdened with a virtual, potential tension, as if she could generate herself from oneself once again, as if she could continue from her very beginning. There lies the sense of ondulatory principle, and the challenge of Mediterranean inspiration as well, since they mean renewal, concatenation, ever rebuilding on the old fundaments, ever following the tradition and a die-hard return to the sources. This most recent cycle retains the fruitful tension regarding some foregoing, previous experiences of this artist. In a series of works with a “Role” as a title she was researching some very rational, geometricalizing premises, in putting different parts together, in some sort of a puzzle of elements and of developing of the spot. In the serial named “Rememberance” she engaged in remodeling of industrial shapes, trying to capture fortuitous in the magma of vibrating, soon-to-condense matter. The difference is not only in using different materials (ceramic or glass); it chiefly lies in understanding of different formative effects in the constructivistic or enformelistic sense. Taking into account the achievements of the forementioned groups of art works, especially some succinct and basic accumulations of the “Remeberance” serial (real archetypal lumps of magmatic features), we consider “The depth flight” to have synthesized some essential knowledge and experience, or to have – in Braque’s words – corrected the emotion with reason, while at the same time compensating the limits of technology and set programs by means of the instinctive and intuitive. So it follows that in the maturity and the balance, in overcoming various binarities and dichotomies, lies the guarantee of the high actual results of the ceramics artist Vera Kovačić.