The other worldly threads of Daphne Gentit introducing us to the core of memory

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Daphne Gentit


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art Collection

    • About art pieces presented above written by Irina Ideas

      Daphne Gentit enters the world of memory in a very human and organic way, touching upon various points of essence, between the territorial sense of self, the boundaries and the non territorial sense of self. The non territorial, timeless and spaceless, enters into the mystical world. The unknown aspects of the organic essence is transcended from Daphne’s use of technique, the way she deals with the softness and nurturing landscape of the portraits with representational language, escalating the sense of otherworldly. Almost a poignant lore evoking the times long gone, maybe something that left the mark upon the European collective consciousness from the times of the Medieval quest for meaning, cloaked in darkness but yet shining light. Evading the direct association to the religious, the pieces are existing in the world of highly spiritual disposition, one can observe and reflect upon the universal struggle we all feel when facing the personal sense of memory, the monstrous voids and fears that we fabricated the memory from imagination rather than facing the void that truth sometimes brings.
      Daphne’s collection is inviting the spectator to face the demons of own or collective past, without twisting or rationalizing with the logical mind, it is a music of the silence that is heard the most audibly, when standing in the void between two worlds, past and future, harsh and nurturing, fragile and flexible,… This is the territory which Daphne guides us into, to re-examine the organic softness, nurturing, the solitude of the noble dead. Today’s world, governed by the fire of race with time, seems so distant when we allow a moment to seep into our soul, to reflect without emotion or striving, just be still. Observe the mythologies and heros we all built within our conscious sense of self and be disarmed by the softness a human shape on the other side of the worldly inspires.


Ethique (Ethics by Spinoza) seems to be a reoccurring theme, the hand of righteous that learns from the book, a verse of thoughts through century, a verse becomes a thread, a thread becomes the association to the entire life. Probably the most prevailing aspect throughout her opus is the elusive quality of the thread that depicts the life, lives through different spheres, entering the subconscious. Her installation pieces are also a reflection of many lines found on paper, in life, in genetics, in communication, ad infinitum across topics that reflect each other. We learn by seeing and Daphne Gentit makes sure to remind us subtly that what we see are sometimes ghosts, with almost a haunting feeling we learn through visual distance of the word Ethics. It seems insignificant but it is all prevailing just like the lines, the threads that saturate Daphne’s collections without the use of color, because color is something which we started perceiving only later in the evolutionary trajectory. Our peripheral vision perceives only a limited percent of the color which further focuses us on the significance of the black and white world and Daphne Gentit keeps knitting this world with various expressions in time and space spanning from sculpture, photography, installations, drawings, every one of them interlaced with each other, finding a novel expression a vacuum of a child like wonder. Sometimes the scenes lead us to examine the sense of fear, from a distance again because it seems interwoven in the world of shadows, internal aesthetics of the body that neither sleep nor is awake, it exists in between or beyond. The primordial essence of life and death, dark and night, examining the world that the night sky often reveals, all the creatures that appear from the shadows, threads, suspended in air, hanging, waiting to be discovered, because they don’t have to justify their existence. The time will come when science will explain all the intricacies that artists are discovering from within, because art examines with the methods starting from one spectrum while science is starting with the methods of the opposite spectrum and they will meet and unite eventually, but until that times is here we keep examining the infinite both within and without.

Irina Ideas written in 2020 


Art history


Exploring the world of Petar Lubarda, seeing through all the way to building block that the stone is

Exploring the world of Petar Lubarda, seeing through all the way to building block that the stone is

This is a story, a personal impression rather, of a great artist Petar Lubarda with his roots in Montenegro, with trunk in former Yugoslavia’s Belgrade and Paris and branches, leaves, fruits and flowers in the World. He reaches deep into the history and yet gives us something completely new, a way to look through the prism of the stone that becomes a bone that becomes a structure that becomes an architecture. An architecture of the cosmic journey that we all take on this planet becoming one with the stone that made us and at the same time we become appalled from time to time when we notice the glimpses of the core. We live in the world so dominated by the ruthless ruler called beauty that often times we live in the superficial layer that the underlying truth frightens us. We have learnt to ignore the depth to such a degree that we follow the footpath of positive psychology, from one landmark to another, to avoid abyss at any price, the abyss of the unknown that the subconscious mind knows.

Louise Bourgeois is crossing the boundaries of any of the definitions and exploring and emphasizing on the prevailing forces of the subconsciousness of the 20th century

Louise Bourgeois is crossing the boundaries of any of the definitions and exploring and emphasizing on the prevailing forces of the subconsciousness of the 20th century

Louise Bourgeois graced this planet with her presence spanning almost a century, during which she created a wide range of artistic pieces in different languages of materials and expression. She is one of the artists of 20th century who always came back to the psychology, self observation, getting back to the core, finding essence in the childhood memories and events.

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