12.2.2018. (David Lynch) KATALOG PILIŽOTA copy convert.indd 4 9.10.2018. 11:47:44
VIEWS “Art is not something redundant. In it man grows into his real dimension.“ (A. Camus) “The eye can see what the world itself is deprived of in its secreveness – the blink and sufferings of the world, pleasure and pain of the human body.” (Paić 2011:430) The thought of Karol Wojtyla that “the human person has a right to freedom” (Wojtyla 2017:200) was of great importance when preparing the exhibion at the St Chrysogonus (Krševan) Gallery. In today’s society the term freedom is thoroughly arculated, so portrayal analysis serves as an addendum. Achromac drawings are definive in their search of layers of informaon, stored in each depicted individual. In a globalized society, which is dependent upon informaon, the displayed portraits are also perceived as pieces of informaon. It primarily concerns recycling of the exisng (re)presentaons of people from different spheres of (public) life. At the me of media overcapacity and cogni- ve fragmentaon, collage pencil drawings represent immersion into the (un) known. Being logged in does not necessarily result in being well-informed; the same is true for the availability of stas- cal data related to the subjects of portraying, which does not always result in knowing them. The Journal project, launched in 2013, is the basis for a cycle of portraits entled Views. The collage made out of newspaper fragments represenng personal drawings in the journal serves as a kind of spacebook, i.e. a visual commentary on the era of hybridism, a period of me that entails updang life. The so-called picto-drawings are named aer the date of their creaon; some addional informaon is there to further explain a specific drawing. Each new drawing connues and expands a personal log, while mediang between the subject and the object, the viewers and the viewed. “In the portrait of a face the depicted character is looking at me; the model is looking me in the eyes, while relang my view to his. He is looking back at me in silence.” (Purgar 2006:95) If this perspecve is taken into consideraon, most of the portraits in the St Chrysogonus (Krševan) Gallery make up a wall of silence. The newspaper material assumes a mimicry role in this game of persuasion. Layers of gestures are engraved into a paper surface of memory: the tabula rasa is not flat aer all. “The actual face of a man remains barely visible; when somebody is asked who he is, the answers are ‘an engineer’, ‘a peasant’ etc. in fact, the names of the roles played by a parcular person in various theatres of feelings.” (Barbarić 2003:60) “A person as someone who is gied with spiritual dynamism is realized through the true good, not through the untrue good. The line of division, separaon and contrast between good and evil as moral values and an-values, is reduced to the truth.” (Wojtyla 2017:200) “By using the play of light and dark… art manages to present the inner self, a profound sensive subjecvity of the human person … in the glance of the eye, which is considered by Hegel to be the central point of subjecvity and the concentrated expression of the soul as a soul.” (Barbarić 2003:90) Every portrait is layered in its emoonal value; the process of developing the Journal pro-ject also involves tesng (self)cognive abilies KATALOG PILIŽOTA copy convert.indd 5 9.10.2018. 11:47:46
Change language