24. slavonski biennale




Kao što sam obećala, postam Vam fotografiju rada Autoportret u galerijskom prostoru. Trenutno je postavljen u Muzeju likovnih umjetnosti u Osijeku u sklopu izložbe Slavonski biennale gdje ga možete vidjeti do kraja veljače. Na prvoj fotografiji uz autoportret je izložen rad kolegice Helene Janečić, a na drugoj Monike Meglić.


Foto: Muzej likovnih umjetnosti, Osijek


Foto: Muzej likovnih umjetnosti, Osijek


As I promised, I post you photo of Self-portrait in gallery space. The work is currently set at the Museum of Fine Arts in Osijek within the exhibition Slavonian biennale which you can see till the end of february. On the first photograph with the self-portrait is presented next to the painting made by colleague Helena Janečić, and on the other Monika Meglić.




Veiled boy



I u ovoj seriji slika koju se nadam naslikati bavim se vještinom kao rodno uvjetovanom kategorijom. Slika koju sam danas završila je, vjerujem, tek prva u nizu slika koje imam želju naslikati. Nadam se da će sve biti naslikane na istom formatu, 100x140 cm uljanom bojom. Prva slika prikazuje dječaka pod draperijom, a za nju mi je pozirao moj sin od dvije i pol godine kojega sam podmitila s dva Kiki bonbona.

Nedavno sam gledala jedan intervju s Kevin Francis Grayom, irskim kiparom, kojemu je jedan od omiljenih motiva tzv. vieled lady. U tom videu on samouvjereno kaže kako sve svoje skulpture u mramoru izrađuje bez korištenja suvremenih strojeva i lasera. Njegove skulpture nastaju istim postupkom kojim su nastajale skulpture kipara koji su živjeli prije dvjesto godina.  Upravo je to prenaglašavanje tradicionalne obrade mramora možda najbolji dokaz da motiv kojega je izabrao nije slučajno izabran. Naime, radi se o tome da je taj konkretni motiv kiparima bio iznimno zahvalan za demonstraciju vještine i zaista, kada se promotre skulpture tih senzualnih žena prekrivenih draperijama kroz koje se nadzire njihovo mlado lice i jedro tijelo - čovjek dobije dojam da je to onaj vrh svega što umjetnost može ponuditi. Grayeve skulpture izgledaju kao da su umočene u tkaninu koja se slijeva niz sočna tijela. No on je samo jedan u nizu kipara koji demonstriraju vještinu upravo tim motivom. Već u 3. stoljeću prije Krista u Grčkoj je taj motiv bio izvor imaginacije. Tijekom novoga vijeka kipari su se specijalizirali za taj motiv, a neki od kipara su Stefano Maderno (16.st.), Antonio Corradini (17. st.), Giuseppe Sanmartino (18.st), Raffaele Monti (19.st.), Giovanni Strazza (19.st), Pietro Rossi (19.st.), Giovanni Battista Lombardi (19. st.), Giovanni Maria Benzoni (19. st.), Giuseppe Croff (19. st.) itd. Prvo što čovjek primjeti u ovom nizu autora jest činjenica da taj motiv bio iznimno popularan tijekom devetnaestog stoljeća, a ako se pogledaju radovi jasno je da je velom/draperijom prekrivena u pravilu žena. Baš kao i kod Francisa Greya. I baš kao kod F. Greya motiv svih autora je bila demonstracija i trijumf vještine. Fina obrada mramora u motivu ženskog tijela prekrivenog draperijom dobiva potpuno novo značenje. Izradivši skulpturu zanosne žene pod draperijom umjetnik zapravo potvrđuje svoj status vrhunskog autora koji je ovladao vještinom.




Veiled boy, 140x100 cm, oil on canvas, 2014.




In this series of paintings I'm still dealing with the skill as gender-based category. The painting that I finished today I hope to be only the first in a series. I hope that everything will be painted in the same format, 100x140 cm in oil colour. The first painting shows a boy under the drapery, and  I posed my son who is two and a half years old by bribing him with two Kiki candies.

I recently watched an interview with Kevin Francis Gray, Irish sculptor, whose one of the favorite motifs is veiled lady. In this video he confidently said that all of his sculptures in marble are made without the use of modern machines and lasers. His sculptures are formed by the same method in which sculptors made sculptures two hundred years ago. This over-emphasis on traditional processing marble perhaps is the best proof that the motive which he has chosen isn't randomly selected. The fact is that this particular motif was for sculptors extremely grateful for the demonstration of skills and really, when you observe these sculptures of sensual women covered in drapery through which you can feel their young face and core body - one gets the impression that this is the top of all what art can offer. Gray's sculptures look like they were dipped in the fabric that runs along juicy bodies. But he is only one of many sculptors who demonstrate skill using that very subject. Already in the 3rd century BC in Greece that motive was the source of imagination. Afterwards, sculptors specialized in this motive, and some of the sculptors are Stefano Maderno (16th century), Antonio Corradini (17th c.), Giuseppe Sanmartin (18th c.), Raffaele Monti (19th century) Giovanni Strazza (19th c.), Pietro Rossi (19th century), Giovanni Battista Lombardi (19th c.), Giovanni Maria Benzoni (19th c.), Giuseppe Croff (19th c.) and so on. The first thing you could notice in this series of authors is the fact that the motive was extremely popular during the nineteenth century, and that women is the one who is covered with the viel. Just as we saw earlier in Francis Gray's sculptures. And just as in F. Grey's sculptures, motive of the author was to demonstrate his skill and to assert himself as the superior author.


Veiled boy, 140x100 cm, 2015.