2 – 16 December 2014
LARGE EXIBITION HALL
INTRODUCTION AND WORK
In living nature on earth, every thing and every creature leave the trace of their existence. No trace is the same to the other; similarity connects them and their uniqueness makes them diverse.
A multitude of forms and shapes, created by the Divine nature in its uniqueness, etched on man’s unconscious being a creative message, that the closer we are to our origins, the closer our thought and action are to their essence. Curiosity, as a creative spark that occurs as wonderment of childhood and lasts a lifetime for some people, whereas for the others it quickly fades and disappears against cruelty of pragmatic life, differentiates artists from non-artist. An artist is always a creative and inquisitive spirit, a tireless seeker of new and different forms of expression.
In his new cycle of paintings Luka Čulić offers, compared to the previous work, re-connection of the previous aesthetic credo and the new quest. Manuscript consistency is deepened by the new approach to the image composition as well as by the use of new constructive forms, emphasized role of the surface structure, which are, with their coloration and linearity, oasis among hardened and bounded geometric shapes, which with their shape deny any suggestion on recognition, visible and experiential of the given visual narrative.
In this specific painterly autobiography Luka combines past time and present time (playful and solid forms). He divides the painting into the upper, more poetic part and the lower part full of epic power, with no intention of achieving the coordination of the whole. Light effects on the fields of illuminated foils affect the observer as pleasant memories of forgotten toys from childhood. When we stop, scared or confused by the reality of life and uncertainty, Luka warns that his reality is full of temptations; but we can always look for ourselves in the new reality. Sifting through memories we open the door to the secret, where children’s curiosity, which we sadly abandoned and forgot, awaits us.
Luka Čulić’s sculptures should be perceived with both sight and touch, but also with experience. These are the forms that nature has long shaped, and the artist has long engraved the traces of his soul. Textures of abstract surfaces offer us aesthetic experience of touch. Smoothness of the girlish face, imprinted as pleasantness, lives in unity with cruelty of the chain; but together they encourage each other, achieving complementarity. These sculptures should be viewed as a whole because any trace of presence, something that is different, would undermine their self-sufficiency.
In Luka’s oeuvre, the sculpture is an indispensable addition to the whole of artistic expression and perfection of thought.
18.11.2014 Ljubomir Gajić
ALLEGORICAL TIME REGULATION
I was somehow timidly and softly taken through Luka Čulić’s Time Machine, on a rainy Sunday morning when a whole new world of art opened before me, awakened by many doubts in time, and torn in multiple poles of modern achievements.
Completely primevally, lyrically, unpretentiously and almost saintly dedicated, the author opens some galactic themes and relations that are based on causal relationships:
man – time – life – faith – truth – hope – transience.
Somehow spontaneously an idea from the great book by Ahmet Hamdi Tanpinar The Time Regulation Institute occurred to me, where the author writes a brilliant idea: To regulate the time means to grab a second.
In a series of recent works Luka Čulić deals with similar problems of metaphorical staging of psychological reflexes, which are, from his perspective, legitimate and subjective voices of awakening and exposing of the negative changes in a society, produced by modernism and technicism of the twenty first century.
Time as an important factor that has a crucial influence on our lives, with Čulić, in a completely new form of aesthetics of visual narration, which moves on the poles of the object, environmental structures, fragmentarily classic painting, luminous effects and sculptoral language, offers artist’s attempts at psychological analysis of the challenges of the system in which he exists too, and whose genuine soul enters a complex time machine of introspection in maladaptive angles around him.
Is it possible to “grab a second” in the time that passes irreversibly when the artistic spirit is constantly in search of its own identity, but finds it difficult to cope with chapters of unusual social memoirs that periodically bring him to the edge of despair and existence?
Such turbulences result in “records” of many supporters of untroubled truth who are in constant conflict with themselves and call the observer of their work to bear witness together to the bitterness of faith in quite distinctive theatre of the absurd.
Courageously, after only a few years of walking on the Rim of Fire, in his work Luka Čulić substantially retained completely subjectivist approach to the formulation of preliminary work setting, but he used format and newer and more modern materials to bring closer his painting to the mixmedia solutions, whereas he essentially retained lyrical approach to internal structural solutions of micropoetics.
Here the classical art gives way to conceptual harmony, and in that light we should view the latest comments of the artist who “wrapped” in the form of Time Machine everything that thrilled his soul in recent years, when he tried to mark the upcoming future with the past, and under the new rules of genetically mutated reality attest again that he managed to stay personal and romantically poeticized spirit, that fits well any suit he wears.
18 November 2014
Dr. Siniša Vidaković
The author devotes the exhibition to
Publisher: Banski Dvor – Cultural Center, Banjaluka
tel./fax: 00387 51 305 336
Foreword: Ljubomir Gajić
Dr. Siniša Vidaković
and design: Boris Čikić
Print: Forma, Banjaluka, 051/310-222
“…Closed wooden form of Luka Čulić suddenly, as after a strong movement, from somewhere inside, burst and mass poured out from its womb like glowing lava or a word that wants to speak. And then it became silent, froze and metal fused with wood in one, new associative form…”
Danka Damjanović, art historian – Banja Luka, February 1996
“…Luka Čulić finds inspiration for his work in the world around him, in paintings and sculptures, in current understanding of reality of life, war, death, but also love by avoiding realism and at the same time by emphasizing the advantage of artistic expression in the function of a symbol. For that reason his art becomes original, subjective, primarily physically and metaphysically composed, given in the symbiosis of abstraction and expressionism…”
Darinka Rackov, art historian – Novi Sad, March 1999
“…Reticular structures and often expressively disaggregated forms, settled in smothered silence of the darkened background of his paintings, reflect internal psychological field, indicating the poetic world of the artist…”
Milan Matavulj, doctor of microbiology and painter – Novi Sad, March 1999
While I was preparing the exhibition “Time Machine”, I never dreamed I would sail into the arena of the universe, the “gladiator” arena of life and death of the last two millennia. Winds and tempest of the arena erased their words, shouts, moan, laugh and tears.
Erosion of time washed away their traces and blood. They left behind pyramids, palaces, forums, amphitheatres, sculptures…
Through this “valley of tears” millions of those who died to make this testimony live paraded, and they were the only who knew the answers to the questions of love, family, friends, life and death.
Painter and sculptor
Cycle – 10 paintings, I - XX century, mixed media 180cm x 180cm, 2014
1 “1389” (fiery iron – bone), 2009
2 “3/4 of the Heart” (wood), 2012
3 “The Story of the Untold I” (wood – welded iron), 2013
4 “The Story of the Untold II” (wood – welded iron), 2013
5 “Homosapiens” (wood – metal), 2014
6 “Gladiator” (wood – metal), 2014