In a series of 7 prints, I play with the border between the work of art and what precedes it, and this is an idea that in my working process I first document work in the form of the so-called sketch. With the presented works, I directly try to erase that border, not burdening myself with the previous order of creation, but directly “drawing” the idea with interventions on the zinc matrix, a template that serves for the realization of a graphic print. Furthermore, there is a game in the form of the etching of the plates, where the length of the etching determines the tones, thickness of the lines, and other effects or, more precisely, technical data by which we often define graphic art as a technical medium. Researching the mentioned approach to creating a work of art, I came across several authors who, with their lucidity, on the one hand, knowledge and playfulness on the other, occupy my focus, above all that is the eternal Ivan Kožarić who approaches artistic activity with a touch of unburdenedness (Freedom is A Rare Bird).

Taking into account the socially engaged topics with which I often deal, in this work I try to move away from them and let go during the working process, which Kožarić points out as one of the most important. Thus, visiting the currently non-functioning building of the Art Pavilion in Zagreb, I see the cracks created by a natural disaster and photograph them, approaching them as fragments of drawings that the earthquake left on this monumental building. In this act, I place the fragments of the building on which the damage is visible as pedestals for some new solutions and artistic ideas that grew out of the disaster. In the graphic process itself, I exploit these fragments, transfer them to zinc plates and place them almost like historical artifacts (both conceptually and visually), recompose and deconstruct them for new construction. Writing down this idea also implies that the bearer of the work becomes part of a damaged and currently non-functional building that is important for national culture and art. Furthermore, there is the possibility of realizing concepts and ideas in reality, which unfortunately is not realistic in accordance with the relationship of our society towards culture. This process also deals with one question that Ivan Kožarić often mentioned, namely “How far does freedom go?”. It may be constantly right next to us, but few have the courage (like Kožarić) to experience it.

With this act (exposure), the work does not end, but there is the possibility of continuing the game and continuing to enjoy it.

Conversation with Noise, 2022.
Series of intaglio prints, 7 prints
1000 x 700 mm
700 x 500 mm size of print

Edition of 10 prints
Paper Fabriano Rosaspina Bianco, 285 gr.

U seriji od 7 grafika poigravam se granicom umjetničkog djela i onoga što istom prethodi, a to je ideja koju u vlastitom stvaralaštvu prvo “dokumentiram” u vidu tzv. skica. Prikazanim radovima izravno nastojim brisati tu granicu ne opterećujući se prethodnim redoslijedom stvaranja već direktno “ucrtavam” ideju intervencijama na matrici, predlošku koji služi za realizaciju grafičkog otiska. Nadalje se događa igra u vidu nagrizanja odnosno jetkanja ploča, gdje dužina jetkanja određuje tonove, debljine linija i ostale efekte ili točnije tehničke datosti po kojima grafiku često definiramo kao tehnički medij. Istražujući navedeni pristup stvaranju umjetničkog djela dolazim do nekoliko autora koji svojom lucidnošću s jedne strane, znanjem i zaigranošću s druge strane okupiraju moj fokus, prije svega to je vječni Ivan Kožarić koji s dozom neopterećenosti (Freedom is A Rare Bird) pristupa umjetničkom djelovanju.

Uzevši u obzir socijalno angažirane teme s kojima se četo bavim, u ovom radu se nastojim odmaknuti od istih te se o(t)pustiti tijekom procesa rada koji Kožarić ističe kao jedan od najvažnijih. Tako, obilazeći trenutno nefunkcionalnu zgradu Umjetničkog paviljona u Zagrebu, uviđam pukotine nastale prirodnom katastrofom te iste fotografiram, pristupajući im kao fragmentima crteža koje je potres ostavio na uvid ovom monumentalnom zdanju. Tim činom fragmente zgrade na kojima su vidljiva oštećenja postavljam kao postamente nekim novim rješenjima, umjetničkim idejama izraslim iz katastrofe. U samom grafičkom procesu, te fragmente iskorištavam, transferiram ih na cinčane ploče te ih postavljam gotovo kao povijesne artefakte (kako na idejnoj, tako i na vizualnoj razini), rekomponiram i dekonstruiram radi nove konstrukcije. Zapisivanje ove ideje ujedno podrazumijeva da nosioc rada postaje dio oštećene i trenutno nefunkcionalne građevine koja je od važnosti na nacionalnu kulturu i umjetnost. Nadalje se javlja mogućnost realizacije koncepta i ideje u stvarnosti, što nažalost vrlo vjerojatno nije realno shodno odnosu našeg društva spram kulture. Ovaj proces se bavi i jednim pitanjem koje je i Ivan Kožarić često spominjao, a to je “Dokle seže sloboda?”. Ona je možda neprestano tik do nas, ali rijetki ju imaju hrabrosti (poput Kožarića) iskusiti.

Ovim činom(izlaganjem) rad ne završava, već postoji mogućnost nastavka igre i kontinuiteta uživanja u istoj.

Conversation with Noise, 2022.
Serija grafika u dubokom tisku, 7 komada
1000 x 700 mm

Naklada 10 komada
Papir Fabriano Rosaspina Bianco, 285 gr.