Damir Medvešek i Darko Pavlić prvi puta izlažu zajedno nakon jedanaest godina zajedničkog rada na oslikavanju kazališnih scenografija. Prenose fragment radne svakodnevice bez dokazivanja virtuoznosti svojih slikarskih umijeća. Niti podmeću ikakav oblik reciklirane postmoderne, niti se pokušavaju dopasti preostaloj galerističkoj publici.

Surovu istinitost izloženog ambijenta čine stvarni ali sporedni artefakti - najloni, kante, stari kistovi, kartoni - predmeti istrošeni, korišteni, nabijeni energijom, prepoznati i primijenjeni kao likovni elementi. Najloni /korišteni kao podloge za slikanje/ kao divovske palete prekrivaju zidove i pod galerije stvarajući scenu u kojoj posjetitelj postaje samo još jedna mrlja ili potez. Uvučeni u košmarni ambijent kazališta možemo predočiti svijet iza kulisa - mjesto nastajanja naručenih svjetova.

Baraka od tila u sredini galerije dovodi u pitanje lažnu sigurnost i megalomaniju svijeta kulisa. Ona nije ni odmorište ni zaklon već crna rupa koja 'usisava' sve produkte i nusprodukte Medvešekove i Pavlićeve kreativne proizvodnje. To što su odabrali oblik radničke barake asocira na tradicionalne kvalitete koje postoje u njihovom radu; oni su prije svega vješti majstori - slikari uključeni u veliki organizam kazališta koji ih crpi i nadahnjuje. Prepoznali su likovnost kazališnog slikarstva što im otvara razne smjerove daljnjih istraživanja.

Božica Matasić

Damir Medvešek and Darko Pavlić exhibit together for the first time after eleven years of collaborative work on theatre scenery. They present a fragment of an everyday working atmosphere without proving their painting skill virtuosity. They neither offer some form of recycled postmodernism nor try to gain sympathies from the rest of gallery audience.

Rough reality of exposed ambience is achieved through artefacts of secondary importance - nylon sheets, cans, old brushes, cardboard pieces - all those used, wasted things filled with energy are recognized and applied here as elements of visual arts. Nylon curtains /that served as background during painting/ cover walls and floor of the gallery like giant palettes, creating a scene in which spectator becomes just another stain or stroke. Drawn into this nightmare of the theatre, one can visualize a world behind the scenes - a place where other, ordered worlds emerge.

A tulle-made hut in the middle of the gallery questions the false safety and megalomania of the scenery world. It is neither resting place nor shelter but a sort of a black hole that 'swallows' all the products and by-products of their creativity. Barrack-like shape of the hut points out traditional features of their work - they are, above all, skilled craftsmen - a part of an exhausting but inspiring organism. These artists recognized the visual possibilities of stage painting which leads them to a great variety of forthcoming researches.

translated by Luka Korlaet