|
| home - ulazna |
| BIOGRAFIJA |
| IZLOZBE |
| LIKOVNE KRITIKE |
| IZ STAMPE |
| KATALOG SLIKA |
| Foto-uspomene |
| Grad Antalya |
| KONTAKTI |
| © studio 2T |
|
Osvrti - likovne kritike (3)
ANTALYA - ANKARA - WIEN - AMSTERDAM - Bugojno/Ajvatovica - RIJEKA - BIHAC -
PAINTING OF PRESENTMENTS AND
REALISTIC IRREVERSIBILITY
(Above the painting cycle of Ahmet Ibukić)
On the overlap of pride and beauty, Ahmet Ibukic founds his inspiration, supplements it with the one and the other, and in the ending derivative, to get the only truly possible: poetics tractate wherein the pride makes basis for the painting, and the beauty gives famous flash as it gives sun reflection in the poetic play of features. That is what makes him different from all the other who approached to the Una River waves and tried to give them artistic shaping, to make them meaniningful as some their intimate vision and some inner deputation. Because, all of them were starting from the given which was mixed up in their visual field, searching for ways to give shaping to the given. They were pulling over epidermal face, were satisfied with caught impressions believing that they have made close contact with Una , with her beauty. It was, undoubtedly, happening, but it was the most desultoriness, immediate tactful. But, Una was flowing by all those momentary legacies, not a bid confused, remaining enigma.
Very comprehension of Ahmet Ibukic that it is not full truth about Una presents already specific intellectual undertaking. Searching for forms to express those comprehension was additional process where his creative work, on his own way, becomes adventure without clear vision of final destination. But, Ahmet Ibukic has succeeded to solve this riddle, too. (I don't know how long it took him, but, in this moment, it is not important since we don't pursue with historical developments of his painting but trying to consider that that is in front of us). His comprehension is crucial: beauty of Una is already consequence of something that is deeply hidden behind its appearing phenomenon. And he move after this-moved to find the roots of this beauty and to catch the moment when those roots start to emit that energy, that secret, almost mystical substratum which will, in its final consequence, get full beauty shaping. We absorb it in ourselves to shape our impression and then, with persistency, carry it inside ourselves.
Which are the roots that emit the energy that would find its own shaping in Una's beauty?
The fundamental root is movement. Inside the movement lays energy substance which transposes to the beauty. The movement frontiers with mystics, grown in the same matter of the water as a primordial element of the existence. A painter have taken for his task to extract the movement substance out of creature or matter of water, to make it independent, to individualize, make it a subject of his painting. He uses all resources which are offered to him for this task to reach truly facts, facts that break light in matter of water which, installed in matter movement, get its independent vision, vision of colored spots. Those spot never stops. They are in permanent change, always in different magma from which perseveringly iridescence into new particular condition. It is completely different from the condition it was in moment ago, unmeasured physical period. For Ibukic, movement is one living gift that is not necessary to be suggested by some accessory means, by simbol or something else. The movement abstracted out of matter of water on his own way, is a physical fact. He transmits those characters onto his painting, gives it full visual realization and full living reality. Because of that, his painting can be experienced as an endless fluid poetry, as well as an alive, immediate truth, or document which can not be denied. The real truth about his artistic production is beginning here: his painting decompose itself in the color and the only color oversupplied with light lives on his painting. It spills through width of his canvas, more often huge sizes, and the color transforms into its reflexes. Those reflexes are often materialized and in opposite colored pigments, but when look better we will easily realize that it's all about one color, color of Una's emerald. We could say that his painting, even if we neglect richness of colored reflexes, monochromic, given, consequently in one colored gamma. Figurativeness is abolished, even on the level of association. But on the other side, Ibukic paints living materiality of movements. He creates them on colored reflexes of basic, fundamental color and paints full reality of the movement. If we approach from this side to the painting of Ahmet Ibukic, we would get to the situation to give a judgement which is completely opposite to the previous one: he paints full realities of his object, movement is living presence, he is almost palpable, and the painter is REALISTIC PAINTER in complete meaning of this word.
Movement is materialized and by series of other resources on Ibukic's painting: he finds materialization of that movement in existence of flora which finds its living space in water matter of Una, paints it in underwater rocks. But, it doesn't mean chaning of standing point where from movement as a substance of water matter has been observed. These are only aspects of previously presented procedure. We emphasize them just to suggest unrest which begins inside the artist when he raise to pain reality of the movement as an the only one possible truth of Una's existence wich, in reflection of our eye, gets view of fascinating beauty. On this painthings, flora and stony piles are only, more concentrated color situation, changing of movement rhythm which get musical break of unrest's and iridescence, dilution of melody and concentration of her song. This is already departing condition when his painting becomes independent regarding of its object and begins to live its own life, transferring that, which we face as beauty of Una into another world and into another material substance.
Bihac, April, 1999, Vojislav Vujanovic
E-mail: ahmet_ibukic@yahoo.com