metaforičnosti. Katarinina idejno-estetska sloboda ali i sklonost ka kombinovanju može se pratiti u većini kompozicionih celina, s obzirom da  se sastoje od nekoliko a ponekad čak i od par stotina elemenata (Hanibal ante portas). Njihov međusobni odnos, istovremeno, celini daje ritam ali je čini i uravnoteženom. Ove koherentne statičko-ritmične likovne predstave logično su komponovane i sintetički zaokružene u jedinstvenosti i celovitosti sadržaja i forme. Povremeno „napukle“ površine, reljefne strukture i linearne mreže u funkciji su simboličko-likovnog jezika. Vizuelni kodeks ovih radova temelji se na osećaju ravnoteže i pokreta, napona i opuštenosti, ritma i poetske osećajnosti. Sve ove osobenosti navode na zaključak da su kompozicije Katarine Lazić Vasiljević autentične likovne celine snažnih simboličkih implikacija što od posmatrača zahteva diskurzivan prodor u njihovu zatvorenu punoću.

The latest cycle of ceramic works by Katarina Lazic Vasiljevic bolsters the freedom of her artistic expression, a freedom that is the result of creativity as an imperative in the realization of a work. Fully aware of the media she works in, of all of its possibilities and its significations, she executes her creative ideas in a very clear and convincing way. Through the process of building up compositions according to the principle of personal, fine art logic, authentic works with powerful messages come into being.

Dedication to man, his existence, survival and spiritual aspects of his being, are the elements on the basis of which this artist constructs the poetics of her works. Katarina transposes her anxieties, fears, as well as creative intentions, through predominantly figurative forms, and the occasional associative form. Independence from types is a representation of the stylized, the simplified, liberated from the superfluous, and it acts precisely through pure, plastic values and textures of materials. Even though they have real premises as motivic givens, the figurative representations are liberated from mimetic uniformity, with the exception that in their basic structures they maintain the form of recognizability that the artist uses as an initial impulse in constructing a new reality. In this way her works take on new visual and semantic communications in which their poetic names (May Breeze, Counterpoint, Four Glances at the Moon, etc.) play an important role, thus indicating the multifarious nature of their interpretation.

The semantic dynamism of the presented pieces is never direct. It is achieved indirectly, through the fusion of form and color, for it is precisely this relationship which is significant for the ceramic art. The unique characteristics of stone clay which is used in making all the works, make this relation even more interesting, as is confirmed by Katarina Lazic Vasiljevic’s works. In keeping with this, it is clear that the wealthy fine art structure of the realized forms came about as the result of the artist’s mastery of the technological process. Whether monochromatic white pieces are at issue, or pieces that are clearly delineated into several chromatic surfaces, intensely colored or in nuanced tones, as well as accented tactile characteristics, color is an integral part of form, always serving the function of plastic structure. While some exhibits are captivating in their spirituality which radiates from their simplicity, white colored surfaces, in others the artist’s lyrical sensibility is manifested through he subtle tonal gradations and surfaces with contrastingly executed surfaces.

Through the union of all fine art elements Katarina Lazic Vasiljevic’s work takes on an expressive dimension that can be observed in every segment of the composition. It is also manifested through graceful, elongated forms whose elegance is accented precisely through overt verticality. The simplicity of form and its balance of line augment the power of a work, which is especially emphasized in monumental compositional wholes that reveal their creator’s affinity for sculpture. Paying attention to the structure and the drama of light and shadow, the artist achieves the effect of subtle fusion of surfaces, thus accentuating the fine art aspects of a work. In certain works the visual semiotics are based on linear rhythms that build up complex, drafting, multilayered metaphoric tissue. Katarina’s conceptual-aesthetic freedom, as well as the tendency for combining, can be observed in the majority of compositional wholes, given that they consist of several, and sometimes of several hundred elements (Hannibal ante portas). At the same time, their mutual relationship gives the whole a rhythm, while making it balanced. These coherent static-rhythmic, fine art presentations are logically composed and synthetically rounded into the union and roundedness of content and form. The occasionally “cracked” surfaces, relief structures and linear networks are in the service of the symbolic-fine art language. The visual codes of these woks are founded on the sense of balance and movement, tension and release, rhythm and poetic feeling. All these unique characteristics lead to the conclusion that Katarina Lazic Vasiljevic’s compositions are authentic fine art wholes with potent symbolic implications, which demand from the observer a discursive penetration into their closed fullness.