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Osvrti - likovne kritike (2) 
ANTALYA - ANKARA - WIEN - AMSTERDAM - Bugojno/Ajvatovica - RIJEKA - BIHAC -
Una's Psychogrammes
"Gorgeous art - what is if not transformation of common feelings and objects into sacred hierarchial icons; a big triumph of imagination over meaningless imitation; a triumph of beauty over naturalistic Lies"
(Maurice Denis)
Not so long ago Martin Heidegger wrote that being without a homeland is a destiny of the modern world. It is one of the two basic choices each man can make. The other possibility is to choose the homeland, wich means, to be a patriot. Without any doubt Ibukić has made his choice and it is his homeland. Painting it, he has expressed the old truth that a man has always been deeply rooted in his homeland to wich, by his very presence in it, he gives the meaning. He has been trying to establish his own co-ordinative life-system and to satisfy his great need to follow his prototypes.
Being faithful to his homeland, he has chosen the UNIQUE RIVER UNA to be his first, real, truthful and permanent neighbour, friend, partner and consoler.
Ibukic and dr. Poljarevic
Since Ibukić is too deeply rooted in the local landscape he never leaves it. And, since he has decided to become a painter, he has immediately refused to paint faces, hills, woods, and towns realistically. The painter doesn't want to rewrite the dreams in which the same elements, being rearranged over and over again, appear in different order. First an foremost, he wishes to create an object of beauty, so he doesn't paint pictures of reality because they can easily become a document for scientific analyses. Ibukić has become aware his artistic being seeks some special kind of beauty which is in complete harmony with his expression and imagination, where decorativness only supports his expression. So, looking for that subjective expression he opens the door at non figurative art, of expressionism and abstraction. Although he is against naturalism, he is not against painting nature. And what a nature! Ibukić follows his idea that painting the landscapes he is able to express "the utmost consciousness" of a modern man who is the very subject of his aesthetic view. The individual view has become a constructive part which doesn't only determine the "language and visibility" of the landscape but, according to it, the landscape becomes a measure both for a men and time. Therefore, it is interesting to see how different forms of the local landscape reflect inside his artistic soul which becomes a place of identification of his consciousness and the surrounding reality or of permanence and ephemerality. As a matter of fact, the landscape by which Ibukić is surrounded is his stimulant that makes him reconstruct and express the deepest thruths about nature, life and himself. Having in mind the Goethe's thought which says that "when we describe the painted landscape we easily forget that what we are describing is not nature", Ibukić creates pictures which are not made according to some organic or physical rules, as it the case with everything else in nature. The structures and the organisms which he creates and which we, due to his specific use of colours and forms, see, is nothing but Ibukić's action. I dare say, his soul. He decides how to combine the colours and the forms by which he expresses his own understanding of the relations which exist in the world he is looking at. He refuses to paint "the ugly things from reality".Instead of it, he takes the liberty of painting nature as he pleases. Finding carefully only the main liner, he makes stylisations. So, those spectators who don't know much about art, who belive that what they see in the picture is nature, are wrong, because Ibukić doesn't paint the known nature (its visible outer side) but the unknown nature (its visible inner side, his soul). For these reasons Ibukić plunges in the Una's whirlpools and records all her psychogrammes. Whether he plubges in the Una works or floats over her to see her in the daily light, she appears to him yellow which he calms down by the blue, (The Play"); the thicker layers are orange ("Under the water"); soon after it becomes red until the condensed dark parts emerge, ("The Una's Emeralds").
Those who neither write nor paint can't know how much courage it is needed to face the whiteness of the paper and to conquer its purity. But Ibukić doesn't lack that courage. When he takes the pastel crayon, the brush or any other painter's tool, following his own bloodstream which is parallel with the Una's, he energetically spreads the colours over the whole surface. In the Una's bloodstream he infuses his own. From his inner whirlpools he patiently builds his forms, which grow out into recognisable figures of underwater stalagmites (sediments), water grass, soft mass, branches, plants...
At this point we must say that these enigmatic structures in his pictures do not appeal only to our understanding but to our intuition as well. For, as we have already said it, a painter doesn't rewrite or copy the original, but, by simplifying the lines and the shapes, he makes a suggestion. Getting rid of everything that can lessen its impression he enforces its intensity. What accords the UNIQUE UNA offers! The Una which is full of suggestive symphony made by the rich waterfalls, gurgling whirlpools, quick streams, colourful water dust and tender mist. No wonder that the painter has chosen a pastel crayon and not the watercolours, because it's ideal to express the tender movements of the grass blades, the crystals of the stalagmites, the softness of the moss, the glassy waves, the misty steams above the Una. The pastel crayon is more pliable, more suitable to paint the Una's world which is Ibukić's world, too.
He has used his logic to create, out of his art in which everything is connected, a magnificent unity. His compositions are placed on the relatively little space. He brings us to temptation to see them as fragments, as part of much Larger pictures, which are almost always ready to fly out of the frames which, enclose them. Sometimes, the Ibukić's forms are a result of his pure automatism. The painter puts the colours on the paper surface according to their contrasts (warm-cold, simultaneous or complementary contrasts); and connects the all the parts of the picture in "The Una's Emeralds". No wonder, as the Una's emeralds themselves are born in the same way: unpredictably, uncontrollably and suddenly.
We must know that Ibukić's contemplation is not based only on making sensual moments which we have to understand. If the primary purpose of impressionism was to show the material exterior, Ibukić has made up his mind to show the Una's interior materialism, her psychogrammes, or her invisible inventory whoose colours don't depend on the air vibrations. He immerses us in the Una's emerald depths where we dive breathlessly. Therefore, there are no shadows, no nervous brush strokes.
Ibukić divides his acrylics into several coloured fields, so the whole surface is the negation of its unity. This idea is made visible when the two colours, especially green and blue, meet. But, there is always a narrow passage, a split which leads into emptiness, which is not irrelevant. On the contrary, it plays an important part in his pictures. It means, that all Ibukić's volumes are exactly there where they ought to be. The extraordinarily rich scale of different tones which vary from greenishblue, purple and golden to violet, unagreen and azureblue, sings in his pictures, at the top of its voice. The effect of the simultaneous contrasts. ("The Una's Emeralds").
But, if the painter fails to realise this, if he misses his concept, he doesn't complain. On the contrary! He experiments in the new areas although he never forgets to bring us back to contemplation. Doing it, we clean our mind and soul from inside so that we should be ready for the new, brand new interpretation of his picture. So, his picture is a large creative process which is never completely finished. He leaves it unfinished (which reminds me of the flowing water itself).
The process of our interpretation is constantly being changed, just as we change our look at it. That's why our look becomes extremely important. Standing in front of the painted structures we start to realise that our life exist and follows that thin line between understanding (mind) and contemplation (heart). The painter never tells us what to feel about the infinite forms which he presents, but he startles our intuition and moves it towards that what he expects us to see and understand in the given harmony of forms and colours.
When Ibukić succeeds to reach the bottom of our hearts and the depths of our feelings, even then when his expression is not freed from some decorativeness of a short date, he manages to express the deepest secrets wich we carefully hide in our souls
And that is something of permanent value.
Mostar, May, 1999, Doc.dr. Ale M. Poljarević
E-mail: ahmet_ibukic@yahoo.com