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2000 Galerija Ulrich

GALERIJA  ULRICH

ZADRUGA LIKOVNIH UMJETNIKA HRVATSKE

L I K U M

 

KRAJOLICI 1999 - 2000

 

9. veljace do  26. veljace 2000. godine

 

 

Objasnjenje za jednog Tomislava

 

Pozvani ste pogledati 7. samostalnu izlozbu mladog akademskog slikara Sinise Culara. Sve nevjerne Tome i one koji se ne zele zadovoljiti cinjenicom da je umjetnik osoba kojoj je dana mogucnost da napravi izlozbu, pozivam na analizu osnovnih elemenata koji odreduju umjetnicko djelo i umjetnika popularnom metodom kviza (pitanja se odnose na djela izlozena na ovoj izlozbi):

1. Tehnika kojom Sinisa slika je:

a)      akvarel

b)      ulje

c)      enkaustika

2. Slike su komponirane:

a)      po zakonu kadra

b)      piramidalno

c)      svjetlosnim i dinamickim vrijednostima boje

3. Boju nanosi kao:

a)      plohu

b)      mrlju

c)      potez

4. Tema je:

a)      apstraktna

b)      krajolik

c)      figuralna

5. Jedna je slika na izlozbi okrenuta naopako.

    Pronadite ju!...............................................

    .................................................100 bodova.

K-rajolici Sinise Culara sada su zaista (i zauvijek) presli u K-ompozicije.Boja je jedino i potpuno sredstvo ekspresije. Sinisa = K-olorist. Redukcija figuralnog predloska dovela ga je do plosne forme. Crna linija pokusava dovesti u red i jasno ih razgraniciti omedujuci obojene plohe. No ne uspijeva svugdije. Energican,sirok,naglasen potez pastoznih namaza uljene boje ipak se ne zeli ukrotiti. Vidljivim tragovima kretanja kista po platnu plava prelazi preko crvene,zelena se provlaci izmedu smede i plave. Crna nadire ali i posustaje. Osjecamo istovremeno napetost i dinamicku ravnotezu. Boje se svojim svjetlosnim i dinamickim vrijednostima medusobno suprotstavljaju i tako ostvaruju prostorne odnose. Snazan kolorizam prica nam o Sinisi,odaje njegovo raspolozenje. Tamni kolorit nekih slika s nepravilnim plohama staticne,zatvorene i hladne zelene boje odaje tjeskobu i strah. No srecom prevladavaju dinamicna,otvorena i topla zuta i crvena boja,vedrije strane Sinisinog duhovnog svijeta i slikarskog izraza. Ponekad nas iznenadi kruzno kretanje. Ipak kompozicija ostaje otvorena i pokrenuta u svim smjerovima.

Sinisino traganje dovelo ga je do apstrakcije koja i danas,90 godina nakon prvog apstraknog akvarela,ne nalazi bas lako pristase i ljubitelje. Utvrdeni kriteriji i norme proslosti,postojane tocke na koje se nije tesko upirati,predodzba o umjetnosti kao igri i razbibrigi jos su uvijek prisutni oko nas.

Kriza. Otudenost?

Ipak,Sinisa,znamo mi i osjecamo da su to oni tvoji krajolici koji su se u meduvremenu samo malo promjenili i razvili,zaogrnuli u sebe sve vidljivo i nevidljivo,pejzaz i mastu. Uostalom,tko ne vjeruje neka upita ptice. One ce mu iz svoje perspektive to najbolje znat objasniti.

                                                                                                   Petra Dragasevic

 

EXPLANATION FOR ONE TOMISLAV

 

 

You are invited to visit 7th autonomous exhibition of young academic painter Sinisa Cular. All unbelievable Thomas and all who does not want to satisfy themselves with a fact that artist is a person with a given possibility to perform an exhibition, I call on an analysis of basic elements which defines the act of art and an artist with a popular method of quiz (questions are related on items shown on this exhibition)

 

1.      Technique  what Sinisa uses for painting is:

a)      aquarelle

b)      oil

c)      encaustic

2.      Paintings are composed:

a)      by the rule of frame

b)      pyramidal

c)      by light and dynamic paint values  

3.      Paint is applied as:

a)      area

b)      spot

c)      stroke

4.      Theme is:

a)      abstract

b)      landscape

c)      figurative

5.      One painting on the exhibition is turned upside down

Find it!

 

………………………………………………100 points

 

L-andscapes of Sinisa Cular now really passed into the C-omposition. Color is one and complete device of expression. Sinisa = C-olorist.  Reduction of figural template brought him to the plain form. Black line tries to bring them in order and clearly distinguish boundaries between colored areas. But he does not succeed everywhere. Powerful, wide, accented stroke with pasted oil paint does not always want to be brought under control. With visible traces of brush movement on canvas blue passes over red, green goes between brown and blue. Black invades but also gets exhausted. In the same time, we feel tension and dynamic equilibrium.  Colors are in confrontation by their light and dynamic values and that way they achieve aerial correlations. Powerful colorit tells us about Sinisa, reflects his mood. Dark colorit with irregular areas, static, closed and cold green color represents anxiety and fear. But luckily, dynamic, open, and warm yellow and red colors dominate brighter sides of Sinisa’s spiritual world and his artistic expression. Sometimes circular movement surprises us. But composition remains opened and moved in all directions.  

Sinisa’s search brought him to abstraction what even today, 90 years after first abstract aquarelle does not find very easy followers and admirers. Defined criteria and standards of the past. Existence of the spot on which is not hard to point, images of the art as a game and pastime are still present around us.

Crisis. Alienation?

However, Sinisa, we know and feel that these are your landscapes that passed through several changes and developed, they are wrapped up into themselves all visible and invisible, landscape and imagination. Anyway, who doesn’t believe let him ask the birds. From their perspective, they can explain all in the best way.

 

Petra Dragasevic