Marko Šošić

SAN - SLIKANJE SNA PREMA NEPOSREDNOM PROMATRANJU

Polazišna točka istraživanja u doktorskoj disertaciji „San - slikanje sna prema neposrednom promatranju“ autorski su dnevnici vlastitih snova koji su nastali tijekom dvadeset godina obrađivanja ovog fenomena. Zbog slabe postojanosti sjećanja na san, dnevnici su poslužili kao dokumenti i ishodište stvaranja štafelajne slike. Svi su sanjani motivi kasnije pronađeni u zbilji i slikani prema neposrednom promatranju.

U ovom se istraživanju jasno razlikuje interpretacija slike sna od one nadrealističke ili one koju koristi likovno-umjetnička fantastika jer sliku sna oblikuje prema objektivnim i dokumentarističkim principima.

San je naš jedini prostor slobode, bez uslojenih društvenih i osobnih inhibicija. San je prostor našeg unutarnjeg i istinskog bića, naše snage i znanja. Silom prilika i silom vremena, postaje pejorativni ukras na sentimentalističkim marginama, a njegov duševni i društveni značaj gubi onu fundamentalnu snagu i pogon.

 

DREAM - PAINTING DREAMS BY DIRECT OBSERVATION

The starting point of the research in the doctoral dissertation "Dream – Painting Dreams by Direct Observation" are the author’s dream diaries that had been kept during the twenty years of observing this phenomenon. Because of the vague memory of one’s dreams, the diaries were used as documents and the fundamental point for the creation in the easel painting technique. All motifs from the dreams were found in reality and were depicted by a direct observation.

In the study, the interpretation of the dream image is distinct from the one used in surrealism or the art-fantasy because the dream image is shaped by objective and documentary principles.

The dream is the space of our inner and true being, our strength and knowledge. In time, it became a pejorative decoration on sentimental margins, and its mental and social significance has lost the fundamental power and drive.

Rimsku keramiku rekonstruirala i konzervirala Jesenka Ricl. // Reconstruction and conservation of archaeological Roman pottery by Jesenka Ricl.

 

FRAGMENTI

U restauraciji antičkih posuda, fuga je ključan element koji ponovno spaja nekoć razbijenu posudu, ali i nadopunjuje izgubljene dijelove. Takva restauracija posjeduje i poetiku i analogiju pronađenog fragmenta koji je dugo vremena bio zakopan; od preostalih dijelova se radi vrlo precizna rekonstrukcija njegovog prvobitnog oblika. Rekonstruirana posuda više nema svoju primarnu funkciju da sadržava, nego da nam pobliže ilustrira svoj prvobitni oblik; takva posuda postaje znak. Postupak restauracije antičke posude na temelju pronađenog materijala doslovno se prevodi u novu metodu slikanja sna.

Pronađeni segmenti posude analogni su fragmentima sna kojih se sjećam, a cjelina platna analogna je cjelini sna.

 

Slika sna se tako otvara u puno skromnijem obimu, no samo tako ostaje objektivno prikazana. Fuga koja veže dijelove u ponovnu cjelinu mjesto je nepoznanice koja prisvaja jednak značaj kao i oslikani dio platna.

 

FRAGMENTS

In the restoration of antique vessels, fugue is a key element that reconnects a broken vessel, but also complements the lost parts.

Such a restoration also possesses the poetics and analogy of a fragment that has been buried for a long time; the remains are a base for a very precise reconstruction of its original form. The reconstituted vessel no longer has its primary function to contain, but rather to illustrate its original form; such a vessel becomes a sign. The process of restoring an antique vessel based on the found material is literally translated into a new method of representing the dream image. The excavated pot segments are analogous to the fragments of the dream I could recall, while the whole of the canvas is analogous to the wholeness of a dream.

The image of sleep is thus opened in a much more modest extent, but only in this way it remains objectively depicted.

The fugue that connects the parts into a new unity is a place of the unknown and has the same value as the painted part of the canvas.

ORION SOMNIATOR

Lazurnim slikanjem na filcu postignuto je da se fosforescentni pigment na dnevnom svjetlu gotovo i ne vidi. Slike su skrivene na bjeličastim monokromnim tkaninama koje na dnevnom svjetlu ne nude ništa drugo osim svoje vizualne uniformiranosti i lakoće materije filca.

Upravo ta lakoća i bjelina podloga su poboljšane interpretacije slike sna koja će se otkriti tek gašenjem svjetla, što je podudarno sklapanju očiju pred san i prizivanjem unutarnjih slika.

 

Osam traka od filca vise sa stropa (2,5 m), tik do poda, međusobno su paralelne, s razmakom od 30ak cm, tako da tvore monolitni kvadar u prostoru.

Oslikane su fosforescentnim pigmentom koji je vidljiv jedino u mraku, osvijetljen UV svjetlima. Prikazan je muški lik koji stoji u poziciji nebeskog Oriona i gotovo istovjetno se ponavlja na svih osam traka.

 

Instalacija je namjenski rađena za Muzej vučedolske kulture i tamo je postavljena samo u večer 21. ožujka 2016. godine.

 

Orion Somniator, ambijentalna instalacija; fosforescentni pigment na tkanini, UV svjetiljke, autorski hidrolat, autorski audio (11'), dimenzije promjenjive, 2016.

fotografije: Dražen Bota

 

Zviježđe Orion, najvažnije je zviježđe na vučedolskom nebu, temeljni motiv vučedolske keramike (2500 godina p.n.e.). Orion je Zimsko Sunce prema kojemu su Vučedolci točno određivali početak godine. On je sa svoje tri zvijezde u pojasu zalazio za horizont na proljetnu ravnodnevnicu – 21. ožujka.

Od toga se trenutka dani produžuju, dolazi toplije vrijeme i započinje novi godišnji ciklus – Vučedolska nova godina.

 

ORION SOMNIATOR

Thin layers of pigment on a thin felt made the phosphorescent pigment almost invisible in the daylight. The images are hidden in whitish monochrome fabrics that in daylight offer nothing except their visual uniformity and the ease of filament material. Fabric’s lightness and whiteness enhance the interpretation of the dream image. Images will be revealed only when the light is turned off, and this is analogous to the moment of closing your eyes and falling into sleep, invoking the inner images.

Eight felt pieces are hanging from the ceiling (2.5 m) right to the floor. They are parallel to each other, with an interspace of 30 cm, so that they form a monolithic quadrant in space. They are painted with a phosphorescent pigment that is visible only in the dark, illuminated by the UV light.

A male figure is depicted in the standing position of the celestial Orion and is almost identical in all eight fabric pieces.

 

The site-specific installation was dedicated to the Museum of Vučedol culture and was set there exclusively in the evening of March 21, 2016.

 

Orion Somniator, ambient installation; phosphorescent pigment on fabric, UV lamps, author hydrolate, author audio (11'), dimensions variable, 2016

photos: Dražen Bota

 

The Orion constellation, the most important constellation in the Vučedol sky, is the fundamental motif of Vučedol’s ceramics (2500 BC).

The Orion is the Winter Sun, according to which the eolithic Vučedol inhabitants determined the beginning of the year.

With three stars in his belt, Orion would set at the horizon at the spring equinox - March 21.

From this moment on the days are longer, the warmer time comes and a new annual cycle begins - the Vučedol New Year.

METODA RAZLIČITOG FOKUSA

Slike su i dalje bile slikane realistično, prema promatranju, no njihovu realističnu jasnoću na nekim mjestima zamjenjuje isto tako realistično naslikana zamućenost. Zamućenost na slikama ima svoja dva pokrića, a to su nejasni i izgubljeni dijelovi sna te objekti koji su i u snu bili nejasni.

 

PREKLAPANJA

Slika sna je vrlo često uslojena od dvije ili nekoliko slika i radnji koje se preklapaju i pri tome imaju jednak intenzitet. To znači da se obje slike vide u potpunoj postojanosti u istom vremenu i u istom vizualnom polju.

Džiga Vertov je ovaj vizualni problem riješio preklapanjem dvaju filmova. Providnost pojedinog sloja ili slikarskim govorom rečeno – pokrivnost – u slučaju njegovog preklapanja filmova uvijek je morala biti zastupljena u toj mjeri da onaj drugi sloj bude vidljiv.

Praktični dio ovoga istraživanja ima svoje uporište u štafelajnoj slici koja je statična za razliku od filmskog medija pa je analogno tom, kao rad izvedena samo jedna scena sna.

 

METHOD OF DIFFERENT FOCUS

The pictures are still painted realistically, but their realistic clarity in some places is replaced by the same realistically painted blurriness.

Blurriness in the pictures has two reasons: it depicts vague and lost parts of the dream image, as well as objects that were unclear in the dream itself.

 

OVERLAPPING

The dream image is often layered into two or several images and actions that overlap and thereby have the same intensity. This means that both images are fully stable at the same time and in the same visual field.

Dziga Vertov solved this visual problem by overlapping two film stripes. Transparency of a single layer or artistically speaking – the opacity - in the case of his overlapping films always had to be present to the extent that the second layer is visible.

The practical part of this research is based in easel technique painting. Unlike the film, the static image of the painting is static, thus the dream image is performed as a single dream scene.

VJEČNI ONIRIZAM, SARDONIZAM I GROTESKA

 

Neovisno o fazama života i fazama umjetničke produkcije, nastaju radovi u kojima bilježim osobne životne frustracije.

To su također zapisi, često kamuflirani u vlastitu mitologiju, podatci koje nisam znao ili smio izreći.

Ovakav terapeutski pristup smatram vrlo snažnim i moćnim, jer se autodestruktivna energija usmjerava u stvaralački čin.

 

THE EVERLASTING ONIRISM, SARDONISM AND GROTESQE

Some pieces are a document of personal frustration, and they were produced in different  stages of life and the artistic production.

These are also records - often camouflaged in my own mythology – of the , data I could not tell or did not know how to tell.

I regard this therapeutic approach as very mighty and powerful, because it directs the self-destructive energy towards a creative act.

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