By her exhibition prepared for the Salon of the Museum of Modern Art Ljiljana Bursac points out to the definite changes within the framework of her already established basic interests. It means primarily that she retains a closer or remoter fine art inspiration by Eastern, Japanese and Chinese arts. From that domain she finds out new plastic solutions enriched by experiences of modern art of Western cultures.

In some works she interprets with success a traditional Eastern calligraphy, expressing in such a way her own fine art sensibility for linearism, for a variety of poetical statements of that kind. In the second group of works, by reeling off and rhythming chromatically and shapely the marshalled elements she builds a plastic system which carries the basic poetical evocation in the variety of its optical effects and tactility of the pigment coats.

When interpreting works it is possible to remain at the level of plastic factors only; thereby the woman artist could fit into the present day milieu of post-modern movement; but entering into mental, emotional, intellectual reasons of such a work some traditional stands are arrived at, which provide another connotation and oblige us to search for deeper roots of such an expression.

The basic principle in Bursac's work is simplicity, simplification, final allusiveness. That principle is jeopardized or in other words it has a balance in the arrangement of works in the space. The ambientalization contains a muffled pathos, a need to express emotions more intensively, a fuller story... Behind syntactic reduction, sometimes till asceticism, an abundance of ideas and associations from religion, history, poetry, nature is hidden.

Though the spectator is not visually burdened by a story, every segment of that scenography has a coded message; at the entrance as The Torah scroll, further The Gilgamesh Epic, the horizontally and vertically placed 'notes'' from The Wailing Wall, easily recognisable signs, almost in relief of The Mantric Circle, The Gate of the Ishtar Goddess; a big diagonal strip in the space marks The Light Centre; The regular coats by a wide brush ornate Noah's Ark Sail for the third millennium (Christian). A large number of densely grouped "designed" models, archetypes represent the fragments of idealized, pure, unprofaned nature: Grass-Sky, Grass-Water.

All the topics, all the motifs are only the inspiration for a fine art note, which is lived through plastic, visual output. Through a severe self-control and concentration the woman-artist tends to reach higher spontaneity through the sameness or delicately shaped difference-from a fine and tiny graphics, line, dash, to a wider stroke of the brush, as a stain, as a spray, as a secret code. Everything is a FLOW of some, idea, legend, time light...

Ethereality and waithlessness are evoked by a thin transparent paper, by colour, stroke, rhythm, light. A thoughtful dispersion, arrangements, span, transparency. The illusion of a gesture, movement, stringing, flicker-of a sail, papyrus, grass, sky, water...

Vertical, horizontal, ondulating papers, as opened scrolls. Gold is for the artist a pure light. The notion of Light is for her individual, it comes out of the artist himself, his work, divine, so that her tendency to reach it is constant in her work.

"No more imititations of nature. To be the nature itself. By means of lines, enthusiasm. The asceticism of a direct flash." - as Henri Michaux has defined it.