The artists are addressing the universal problem of the subjugation of man by the politicsof global capitalism, and his reduction to dependencies, which are related to money thattethers human beings to the system, banking networks and structures.We are referred directly to the image of the world in which values are nullified. Moneybecomes a goal in itself, providing the perfect meaning of life.Appalling, sad, horrendous and above all _ dark. In their consideration of this globaltrauma, the artists talk about the abrogation of fundamental human freedom.In the series Wallet: Desire, contemporary Croatian-American artist Indira Martina Morrepaints over various unused credit cards, selected as a ready-made, thus becoming the basisof an artistic expression that specifies serious criticism with a refined gesture. Thediscourse refers to life in which credit cards are used to facilitate the so-calledcomfortable existence. The artist has constantly been receiving credit cards (after herdivorce) with letters from banks offering dangerous false promises. Morre minimallyintervenes in the text, thus making a complete inversion of meaning. It is an invitationto the viewer to buy (in the service of the common good _ financial support of art) apainted work and it also warns him of the fraud. He fills out the form and becomes theowner of the card which shows, for example, a miniature image of the woman’s eye fromGauguin’s painting placed next to the image of the warrior from the original credit cardbackground. The cards are staged as an exclusion of money wasting, they include artcollecting and art in the wallet.There is no painful servitude, only a quality investment in art _ a zone of freedom andtruth.Morre paints the cards with abstract nets and symbols derived from computer technology.She speaks about abolishing twilight. She creates frames of dispersion or strictarrangement of marks, key motifs, which indicate infinity. Nets are created gently andquietly, while in psychology, this fearful weapon has become the symbol of those complexeswhich entangle the internal and external life and are difficult to loosen and unravel.This is where they become an open space. In all symbolic representations, the net, whichis considered a holy object, was used as a means of entrapping a spiritual power.2.
The artist creates cartographies on the credit cards with symbols of stars, neurons, imagination, internal movements and the like. An artificially created world becomes a metaphysical world. In it, the barriers that hinder the truth are torn down. Morre is inspired by the death of reality within and beyond which she creates noble records. The bureaucracy is refined and quietly ironized.The internal structure of artistic and semiotic aspects points to a significant change in the context of the object, which alters its meaning and value system. The conceptual work is based on the philosophical and ideological discussion. A system of perceptual conditions takes place, resulting in examination of the individual who is reduced to a number, the one who is easily deceived, the one to whom promises are made, etc. Morre contemplates the intertextual and moral dimensions of art.The universality, meaning and historical horizon of the civilisation we are living in, are revealed.