Venientes – selection from the annual production of works by ALU students 2017 / 2018

ARTIST STATEMENT: Davor Dmitrović 4th year of undergraduate university study of graphic arts Mentor: izv.prof.art. Joško Baće In the words of the author: "The works are part of a cycle that is in the making. The desire is to make paintings that will never be able to be viewed in their entirety. The surface of the work is insanely dependent on light, and reflects it towards the observer as he moves in front of the surface. Light is not ... Read More

IZJAVE O RADOVIMA/ ARTIST STATEMENT:

Davor Dmitrović

4th year of undergraduate university study of graphic arts

Mentor: izv.prof.art. Joško Baće

In the words of the author:

"The works are part of a cycle that is in the making. The desire is to make paintings that can never be seen in their entirety. The surface of the work is insanely dependent on light, and reflects it towards the observer as he moves in front of the surface. The light will not spill over the entire surface, but is sparsely collected in a small part, in its focus, while the rest of the work is in the dark, extinguished. The observer is left with three options – to give up looking at the painting, to look for new content in the light or, finally, to settle for one point of view. But the knowledge that you will never be able to see the whole remains present."

Lucija Žuti

4th year of undergraduate university study of graphic arts

Mentor: izv.prof.art. Mirjana Vodopija

In the words of the author:

The "artist" hanging on the cross represents the artist's nakedness and constant exposure to attacks, criticism, but also praise from both the audience and institutions that are able to equally recognize his status and confirm the validity and value of his individual work, that is, the artist is directed to institutions in search of recognition and his position and status in society. Thus, the artist becomes a mediator or a means of reflecting social reality for the audience, and a subject of communication for institutions, from which something new and different is always expected. As an artist is never alone on his creative path, but depends on curators, critics, art historians, patrons, art collectors, but also the audience, he is always exposed to the eyes of the public, which at the same time elevates or "crucifies" him, and his works are always commented, criticized or praised, which exposes the artist's actions to constant questioning and doubts. The artist thus always remains "bare" in front of the audience and institutions."

Ana Maria Maravić

4th year of undergraduate university study of sculpture, specialization - small plastics and medal making

Mentor: red.prof.art. Damir Mataušić

In the words of the author:

"The work presents the way we function, or at least we should strive to function through life. People are deprived of their arms and heads and have their bowels stabbed in order to point out the injuries that life can inflict on us, but it is up to the individual how they will accept it. The characters in this work choose to celebrate their injuries with dance. Their character is the guiding thread, their inner spark that lights their path. On this path, which is sometimes not easy, we grow like plants, we learn, we come to new knowledge."

Ana Penić

I. year of graduate university study of sculpture

Mentor: red.prof.art. Peruško Bogdanić

In the words of the author:

"The work represents a group of irregularly arranged spheres, each of which functions separately as one stage or organism and together as a whole. Their color and structure resemble living tissue which, separated from the figure of beings, creates irregular bodies that approach the sphere in shape, but each is still different. Each carries its own individual process of creation and life. The dynamics of forms and structures gives the impression of a living organism. In some phases, the spheres seem solid and almost perfect in shape, while in others they seem to barely maintain the given form and refrain from collapsing."

Jelena Ivančić

3rd year of undergraduate university study of sculpture

Mentor: red.prof.art. Mile Blažević

"Work is associated with a natural force stronger than human power. The sea eludes man's attempt to manipulate and establish control over other people, nature, things, situations. With its power, it reminds us of our transience, fragility."

Antonio Kutleša

2nd year of graduate university study of fine arts

Mentor: red.prof.art. Ines Krasić

In the words of the author:

"Graphics give us the opportunity to observe the drawn object from one predetermined point of observation. By shading the depicted object, we try to create the illusion of three-dimensionality in a two-dimensional medium. However, no matter how skillfully we achieve the illusion of three-dimensionality, we will never be able to see the depicted object from all sides. Guided by the desire to make the object visible from all sides, the idea of transitioning two-dimensional graphics into a three-dimensional object arose. The direct transition of two-dimensional graphic drawing into a three-dimensional object, without shaping the object itself in traditional sculptural techniques, was achieved through 3D technology. In order to succeed in this, the graphic drawing itself is imagined as a three-dimensional object cut into thin layers, which, placed in the correct order on top of each other, make up the entire object. Each individual layer is saved as an individual drawing, which is subsequently converted into a relief of certain thicknesses in 3D software. The resulting reliefs are placed on top of each other and create an overall three-dimensional representation, a model of the original drawing ready for three-dimensional printing. With a three-dimensional print of the resulting model, we get a three-dimensional object of the original graphic drawing, now visible from all sides. The resulting object can be considered a sculptural work, a work that, in addition to the interests of graphic institutions, can equally attract the interests of sculptural institutions, while increasing its own chance of exhibiting in both institutions."

Jelena Petrić

2nd year of graduate university study of fine arts

Mentor: red.prof.art. Ante Rašić

In the words of the author:

"Installation Object_no.7 is set up like a register of views. Those who once enabled communication between the private and the public are now exposed to the public in a new light. “

Object. Object or object (pre-placed) means thrown into the encounter, i.e. the thing becomes an object in the encounter with the subject. An object as a work of art is a thing that is not a work of art in itself (by its material spatial presence), but by the fact that it is an artifact that confronts the world of the artist and the world of the audience (culture).

Miško Šuvaković, Glossary of Contemporary Art, Horetzky, Zagreb 2005

Petra Šabić

2nd year of graduate university study of fine arts

Mentor: doc.art. Gordana Bakić Vlahov

In the words of the author:

"The fear of the white canvas results in the inversion of the background into black. Just as the saturation of the thinking of the inner or outer observer results in the absence of it. This interspace in which the gaze is contained sometimes creates a tolerable but intense noise that seems to emanate from all units of the environment. The clumsy but safe adaptation to a particular source and the juxtaposition of the material speaks in the language of the eternal process. The bright, but still subdued lines that fight for their place in the blackness perhaps more than metaphorically place the individual in a relationship over the one they consider to have this power of gaze, and it is very strong. The gaze makes the decision, and the decision gives the way. Perhaps the canvas itself is what one looks at, while the one who intervenes on it creates what happens, by itself, and still takes its forms with regard to the number, intensity and content of the gaze. Here, the panopticon becomes that between consciousness and consciousness that one is being watched. In the end, it is impossible to escape the inner and the outer because without the other, one does not become what we know as it is, just as a gaze is not a view if it has not already been stimulated by identifying our own noise with the noise we recognize in someone else."

Diana Zrnić

4th year of undergraduate university study of painting

Mentor: izv.prof.art. Zoltán Novák

In the words of the author:

"I believe that the concept of art that connects society and the individual is a good tool in which to discuss global and multicultural issues that affect our society. Therefore, my art seeks to visually study how people react to the problem that is placed right in front of their eyes. The aim of my work is to explore whether art can have a significant impact on people struggling to survive. So, I wonder about the effectiveness of art when dealing with serious issues such as extreme poverty. Can art be an educational instrument that allows people to participate? How does art offer the possibility of opposition, does it also provide the possibility of change? Moreover, should art even live off such responsibilities? In this context, I am interested in the themes of homelessness, alienation, routine and value systems that I approach in a provocative and direct way, seeking justice, equality, compassion and respect. In the domain of visual arts, traditional and non-traditional media, I want to communicate with diverse audiences about issues that matter to our lives. We cannot live in a world where one person's waste is another's food. My goal is to raise the cultural awareness that surrounds these critical issues."

Helena Rubčić

4th year of undergraduate university study of sculpture

Mentor: red.prof.art. Petar Barišić

In the words of the author:

"Agglomeration of Memories 2" is a work from the series of works of the same name. By illuminating a rigid tangible form, I get a fluid intangible shadow that does not resemble the shape of the object itself. By doing so, I show how fluid our memories are, and how susceptible they are to change.

Katrin Radovani

4th year of graduate university study of painting

Mentor: Assoc. Prof. Prof. Art. Ksenija Turčić.

In the words of the author:

"I'm thinking about the mountains; and what is it that attracts us to the mountains, us children of an overly rich and all-accessible civilization? We talk about "escape for the weekend", "escape to the mountains", "escape to vacation", but what are we running away from, we children of civilization who have mastered nature and enslaved all the mountains? It is impossible to escape surveillance today. Surveillance, as a boon and a by-product, was brought to us by a civilization that silenced all the unknowns of the wilderness. Surveillance, safety, comfort... So why do we sometimes feel like we are in a prison from which there is no way out? Always available, visible everywhere, even on our "trips to nature", our trips "to the mountains", vacations, skiing, weekends outside the city – do we carry the "shackles" of civilization with us? Civilization and Institution; life under the auspices of an institution means survival in the art world, visibility is a competition that must be satisfied for security and stability, and the toll is obedience to written and unwritten rules that someone, that superior Someone, has determined. There is a constant struggle for those crumbs of bread: like a city pigeon, you have to be present and constantly lurking, chained to the asphalt you cannot fly away into the wilderness. Can't you? I paint this mythical wilderness, landscapes that do not exist, landscapes of metaphorical mountains, observing them from this place where I am, from the foothills, from the prison of 'visibility' – because for me too, they are distant and inaccessible. Because, if I go there, who will see my paintings?"