Exhibition of Viktor Šest

Paintings in front of you with their stylistic definition are placed into retro art, painting which loves anachronism that is not experienced pejoratively as is significant for using this term in daily, colonial language but as uniformity, stylish direction, and trend in art from the middle of eighties. That trend has defined consideration on some segments of art in the frame of post modern art, segments referred to post modern consciousness of history of the art, to possible quotations and “those collected” authors that experienced, accepted and formed the art in accordance with traditional iconology. Portrait, so called trite historically artistic reality placed as on those paintings, give them a special retro scent which acts refreshing in the emptiness of modern art. As I already mentioned somewhere else, this “lingva vulgaris”, daily language of bars and street is exciting in the vegetarian post of modern art. Similarly, is with the form in which those paintings are placed. Modern freedom allows the artist to capture available, heterogeneous stylish elements to very specific unity. Namely, the artist with his artistic experience is discovering the already known stylish recognitions, applied design that author used for dressing the specific content, the portrait in this case.

Each painting is realised in its own artistic definition. All together,” which mean this exhibition”, at the end is composed to incredible unity, easily recognised and accepted and more important that us, observers liberates of dogmatic ballast that we are burdened, willing to admit this or not. Those paintings make us happy by the recognition that art, thanks to freedom that we owe to twenties century, can function so easily and effectively. In front of us is the art of reach, juicy vocabulary of style discovered long ago. Old artist prescriptions are used by the artist, when the entirety depends on dominant to which all other is subordinated (look those paintings!). In this style, the eye, looking at the painting always is seeking for the pillar. The human nature, such as the need for order, organization, and clarity is expressed with imagination and deciphering the outside world by using the geometry. In this spiritual reality the artist can not find more closer “uniformist” (that exactly formulate the consideration that he likes), from Cassier discovered long time ago that art was the language of sensational forms and not conceptions. He namely creates the art with forms, tones as a part of natural reality, more precisely our cultural environment, using it for reason as this he offers, placed and applied by rules, valid only for the occasions like those painting are. He puts together the context of paintings into the way to be accepted by pretentious spectators, those with “adult eye”. The artist defines the objectives and selects the ways to reach them. In his believing, precisely conviction, the artist respect well known instructions, rules, agreed signs, symbols, grammar but only unless he achieves the stability that enables him the security in his journey to unknown and unpredictable. Paintings in front of you are maturing of those that can be anticipated from the very beginning. By the way of his consideration and feeling the artist is able to play in connecting the modern with traditional. Leading by Freud’s hint, we spectators are met with an expression that poet’s fingers being there before the artist’s fingers. Andro Filipić

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