SEVDINA

Sevdina. Sevdijana. Voljena. Uzdah i strepnja. Taj blaženi osmijeh na ispaćeničkom licu. Na njemu se urezala svakojaka igrarija petorice veselih dječaka. Na njemu su ispisane provedene satnice na bihaćkom buvljaku. Neka, da samo svojih petero dječaka izvede na pravi put i da im barem da zanat u ruke. U očima nepregledne vulkanske dubine. Sve se tamo ugnijezdilo. Ponajviše iskonske brige da se izdrži, da se uspije, da se bude neko. Pribrana majka ko niz bisera. Čista. Jedina.

Selman vješto iznosi istinsku emociju koja se u svakoj pori majčina lica oslikava i donosi nam bezbroj priča. Ljepota facijalne ekspresije slikareve majke se postepno puni svakom vrstom osjećajnosti, neiskažene boli i gradira nevidljivom linijom neprobojnosti one najdublje boli. Boli, koja se ne smije pokazati u javnosti, pred porodicom, pred djecom. Boli, koja ostaje iza zasjenjene i kristalizirane svjetlosti u očima. Sve se zaustavilo. I suza stoji. Na kraju je mrežnjača, treperi. Na ivici blaženog osmijeha se zaustavila. Dalje ne smije. Selman osmijeh i plač ostavlja posmatraču. Oči su veoma složene, lijepe i intrigantne. One simbolizuju jasnoću i fokus.

Zanimljivo je da slikar Selman, koji rado koristi svijetle i raznovrsne boje na istom platnu, majku portretira u jednostavnoj čistoći nijanse zelene smirujuće boje. Sam često kaže da zelene površine njegovih portreta, a tih je malo, nose Rembrandta u sebi. (Sličnu čistoću uočavamo i na slici Richard iz 2016, privatna kolekcija u Pragu). Najveću inovativnost koju Selman upravo i ispoljava u svojim portretima, autoportretima i ilustracijama je izražaj ljudske topline svojih bliskih. Njegovi autoportreti onih drugih, naručenih slika, tvore isto jedinstvenu intimnu biografiju, doduše objektivniju, u kojoj je umjetnik promatrao te druge putem ličnog ili fotografskog susreta. U njima se ogleda izvrsna tehnika slikara Selmana dok na „jednostavnim“ portretima bližnjih, katarzično živimo sa emocijama portretista. Slika majke sa biserima nam otkriva Selmanovu fascinaciju Djevojke s bisernom naušnicom nizozemskog slikara Johannesa Vermeera iz 1665. godine.

Sevdina. Sevdijana. Beloved. Sigh and apprehension. That blissful smile on the afflicted face. All sorts of games by five happy boys were engraved on it. Hours spent on the Bihać flea market are written on it. Let her take only her five boys on the right path and at least give them the craft. In the eyes of endless volcanic depth. Everything nestled there. Most of all the primordial worries to endure, to succeed, to be someone. A collected mother like a string of pearls. Clean. Only.

Selman skillfully conveys the true emotion that is reflected in every pore of the mother's face and brings us countless stories. The beauty of the painter's mother's facial expression is gradually filled with every kind of sensitivity, unspoken pain, and graded by the invisible line of impenetrability of that deepest pain. Pain, which must not be shown in public, in front of the family, in front of children. Pain, which remains behind the shaded and crystallized light in the eyes. Everything stopped. And a tear stands. At the end is the retina, it flickers. She stopped at the edge of a blissful smile. He can't go on. Selman leaves a smile and a cry to the observer. The eyes are very complex, beautiful and intriguing. They symbolize clarity and focus.

Interestingly, the painter Selman, who likes to use bright and varied colors on the same canvas, portrays the mother in a simple purity of shades of soothing green. Sam often says that the green surfaces of his portraits, and there are few of them, carry Rembrandt inside. (We notice a similar purity in Richard's painting from 2016, a private collection in Prague). The greatest innovation that Selman manifests in his portraits, self-portraits and illustrations is the expression of human warmth of his loved ones. His self-portraits of those other, commissioned paintings form an equally unique intimate biography, albeit a more objective one, in which the artist observed the others through a personal or photographic encounter. They reflect the excellent technique of the painter Selman, while in “simple” portraits of loved ones, we live cathartically with the emotions of portrait painters. The image of the mother with pearls reveals Selman's fascination with The Girl with the Pearl Earring by the Dutch painter Johannes Vermeer from 1665.

Texts by Hassan Zahirović