S I N I S A C U L A R
2002 Galerija AGM
GALERIJA AGM ART POINT CENTAR
Zagreb,Gunduliceva 21
IZLOZBA SKICA
Krajolici ili Uspon na Kalvariju
21.02.2002 do 10.04.2002.
Sinisa Cular:
'Gdje gradski covjek Zagrebacki moze dozivjeti prirodu? Sljeme je izazov. Uspeti se na brdo da vise i dalje,bolje vidis.
Oda Prozoru
U Sinisinom slucaju: Oda jednom tramvajskom prozoru, ili 'O,da! Jednom tramvajskom prozoru!!!'
To je onaj tramvaj za Dolje (sa Mihaljevca) koji onako veselo vijuga lagano nagnut pri voznji uzbrdo i nizbrdo.'Dolje',a ides gore,u Gore.
Ide nas slikar poput Barbizonaca i impresionista u paysage (a i Leonardo je gledao u daljine i detalje,Boticelli,Braca iz Limbourgha,Giotto,...) Uopce, to gledanje ide u opis radnog mjesta slikara:gledati,gledanje. Veselo vijuga nas Tramvaj Skripko na putu uzbrdo za Dolje,slikar gleda i odjednom vidi.Kroz prozor tramvaja Kadar Pejzaz. Gotova slika. Slike. Parcele obradene. Slikarsko platno parcela obradena. Iskustvo zemljoradnika. Poput zemljoradnika oblikuje svoje parcele.
Uspon na vrh
Da bi se'...s vrha gledalo na sve svoje probleme kao s vrha Slemena.'
Da bi bili blize visinama. (Na putu na Kalvariju postoje ti bljeskoviti trenuci zahvaljujuci kojima je uspon nesto laksi.)
O nacinu rada
Sinisa ne preslikava prirodu. On promatra,a zatim stvara svoju kompoziciju po uzoru na ljudskom rukom oblikovanu prirodu hraniteljicu. Kao sto covjek koji obraduje zemlju odreduje kojom ce kulturom zasijati ili zasaditi koje polje ove godine,tako i Sinisa postavlja osnovne elemente svojih slikarskih kompozicija. Vertikalu presjeca nekim poprecnim poljima,spaja ih kruzno ili naznacuje (markira),prozirno presjeca postojece slojeve umecuci visedimenzionalne membrane,zasijecajuci kompoziciju nekim novim naznacenim tockama, vrhovima,uglovima nekih novih kvadrata i pravokutnika.
O tehnici,pa i likovnoj
Slika crtacim sredstvom. Uljnim pastelom na zrnatom papiru gusto rijetko,impasto lazurno. Na putu prema jos tezoj tehnici lagane drvene bojice.
Karakter ovdje izlozenih crtanih slika ili slikanih crteza je tezak,zasicen,programski natrpan;gotovo bez daha kompozicija.Radi se vise o jednom grcu da se brze bolje zabiljezi sve sto je ovog casa na pameti i u dozivljaju. To su programski crtezi. Vise kao pretrpana skladista za vlastitu slikarsku buducnost. S povjerenjem u vlastitu slikarsku snagu koja sada stvara u skladu sa sadasnjim Sinisinim temperamentom. Hrabro podastire javnosti na uvid svu svoju bujnu preobilnost. Svjestan da ce doci vrijeme redukcije kad ce sa zahvalnoscu crpsti iz ove ovdje izlozene slikarske zimnice.
O izlagackom prostoru
Ove bogate bujne radne skice odgovaraju izlozbenom prostoru trgovine slikarskim priborom i materijalom kao izlozena slikarska istrazivanja u materijalu,tehnici i kompoziciji.
Sta ti je put za Dolje
Sta ti je put za Dolje. I koje nas jos postaje cekaju na usponu na Kalvariju.
Spoznaja kroz rad
U Cularevom slikarskom opusu blista nekoliko slikarskih dragulja. Vrijeme probere sto zeli sacuvati. Tko misli da je kod drugih slikara drugacije,grdno se vara.
Jadranka Mlinar
LANDSCAPES OR CLIMB TO
Sinisa Cular:
Where can city man experience nature? Sljeme is the challenge (Sljeme = small mountain near
Ode to a window:
In the Sinisa’s case: Ode to one tram window, or O’yes to one tram window!!!
That’s tram going down (from Mihaljevac) that so cheerful drives, slightly twisted, going downhill and uphill.
And so goes our painter like the “Barbison” and impressionist to paysage (and Leonardo also has watched in the distances and details, Boticelli, Brothers from Limbourgh, Giotto…).Generally, watching goes into the job description of one painter: to watch, to observe. As cheerfully drives our tram on his way downhill, painter watches and suddenly he sees. Through tram window, frame, paysage. Finished painting. Cultivated land. Painter’s canvas cultivated land. Experience of the land worker. Like the worker on land he works on his segments.
Going uphill:
To watch from the top on all problems, like from the top of Sljeme.
To be closer to the heights. (On the road to
About way of work:
Sinisa doesn’t copy the nature. He watches, and then builds his composition according to human hand modeled nature. As a man who works on land decides what will plant in which field, so Sinisa places basic elements of his painting compositions. Vertical is cut by some horizontal fields, he connects them circularly or marks them, transparently cuts existing layers by adding multidimensional membranes, cutting the composition with some new points, mostly with some new triangles and squares.
About method:
Paints with painting tools. With oil pastel on grainy paper, dense, thin. On the way to a more complex method of a wooden color.
Character of here shown drawed paintings or painted drawings is heavy, full, crowded, almost a composition without breath. There is a more than one cramp with a purpose to notify as soon as possible everything what is in single moment in mind and in experience. Those are program drawings. More like crowded warehouses for own painters future. With a trust to own painters power that now creates in the harmony with current Sinisa’s temperament. Bravely he shows to public all of his fullness.
He is aware that time for reductions will come, when he would extract parts from this paintings supply.
About this exhibiting space:
This rich, full work sketches are adequate to this exhibiting space of the painter’s equipment and materials store as the exhibited painting explorations in materials, methods and compositions.
What is a road downhill:
What is a road downhill. And what stations wait us on the way to
Knowing thru work:
In the Cular’s painting opus there are several painting jewels. Time chooses what wants to preserve. Who think there is different by other painters is totally wrong.
Jadranka Mlinar
