Izložba /Exhibition / Austellung
Zavičajna galerija Crnobori
svaki dan osim nedjelje od 20:30 – 22h
Petar Dolić graduated sculpture at the Zagreb Academy of Art under the supervision of professor Šime Vulas in 1999. Since that time, he continues to organize and participate the art expositions dedicated to his work or together with other artists in Croatia and abroad. Due to his enormous creative energy, work discipline and devotion to the artistic research he became one of the most important and the most promising sculptor of the middle generation of authentic Croatian artists. Petar isn’t limited only to the exceptional sculpture. His creative virtuosity is proven through different media easily modified according to his artistic vision. He is devoted to provoking intellect using his artistic experimental instrument such are moulding and carving, water colours, installation, wood, stone or glass. He especially likes glass figures as an artistic medium that supposes different challenge towards the creation process compared with traditioNal artistic sculpture materials. Using his artistic intuition Petar strongly felt the way of incorporating the energy of life and dynamics of relationship between therhythm of stillness and movement through the medium itself and the space which surrounds it. He understands that the paradigm of the superficies of the thing we watch comes out as a result of the continues interchange between the mass of the object and surrounding space. The mass, which is passive and finite, conditions the spacedynamic and
open and only together they come out as a whole in its fullness. That specific energetic ratio between mass of transparent glass, penetrated by the light, and surrounding space bears enormous potential of the visual ideas and simultaneity of forms leading us to the endless communication in the intellectual and emotional fields of observation.
The vivid game of light and its unpredictability of the visual outcome present perfectly thee process of the life itself and give an extra dimension to the sculpture. Introduction of the new dimension into the visual manifestation of the object, through the transparency of the material and interpolation of the light into the object, comes because of the controlled sculptural artistic processing of the material. The artist literally models the sculpture using the light as well as traditional sculptural techniques – choosing the size of the sculpture, determining concave and convex surfaces and lines as well as controlling and modifying the thickness of the glass. Peter uses cut out blocs of classical glass with its natural turquoise-green colour that reminds us of the most beautiful see shores thus relaxing our view in meditative way. He cuts the blocs, saws, hones and abrades them up to the finest filagree surface that makes the glass perfectly gentle for the touch and ideal for the subtle game of light.
39x25x15 cm, staklo/glass, 2019.
48x38x20 cm, staklo/glass, 2019.
Petar isn’t interested only in the surface of the sculpture, he takes care of its glass interior which is very important for opening the special white glass spots, depending on the exterior light, and thus giving special dynamics to the sculpture. Perfectly controlled honed edges break the light in a special way and turn out as interesting contours, like some kind of a drawing, in a contrast with turquoise-green colours of the soft surfaces in many different nuances of the same colour. Because of all this effects Peter’s sculptures are very rich and ex offering to the spectator different and numerous points of view and guiding the spectator to move around the sculpture in order to explore different and dynamic views as well as different sense of balance of captured movement and modernity. Uniting the interaction of contrasted visual concepts – bright and dark surfaces, hardness of the material and softness of the artists touch, dynamics of the light accents and statics of the mass, cold glass and warm modelling – the artist creates visual richness and wholeness specific only to the masterpieces. The form corresponds with the theme of the sculpture. Petar embosses fish, but not because of its iconographic (Christian) or anthropomorphic meaning, but due to its resemblance to the medium and the colour of the glass. They come out as a sequel to the Sea cycle also made of glass. His elegant fish, organic in shape, are reduced to the edge of recognition of the tamed form. Some of them are fully abstract in order to open our vision towards more universal and deeper ways of visualisation where our attention becomes com prehensive and general without any need for explanation, ready for the pure feeling. opinion, Petar’s
additional education at the stadium of the medal making and small plastic significantly contributed to his affinity for the fine modelling of the glass
surfaces in order to free all modalities of the light so delicate and hard to recognise for the uneducated and untrained eyes. This is where we can find his artistic forte. He is capable to find and liberate natural visual syntagms of light within huge blocks of hard material finding tinies microns the very soul of the structure. In his case it is the glass in which he finds special quality opening it to the light. For Petar the motive isn’t crucial, he is more interested in the material, in its dimension exposed in the simultaneity of open shapes. Considering his curiosity and love for the experiment presented in continuous search for new innovative visual solutions, I’m sure Petar would surprise us in his forthcoming new artistic cycles. This great cycle glass fish – presents his concentration on the problematics of maturing objects and their variability in the multi-directional reflexion or glass penetration. It also witnesses his artistic ripeness confirming his unique diversity.
50x48x23 cm, staklo/glass, 2019
27x25x12 cm, staklo/glass, 2019.
Born in Travnik in 1975. He graduated from the sculpture program under the mentorship of professor Šime Vulas, also attending a course in medal making and small-scale sculpture mentored by Damair Mataušić. He has had 69 solo exhibitions and has participated in 77 group exhibition so far.
He is the author of a number of sculptures in public spaces / Three Suns – Vela Lozna cove, Postira; Submarine – Zagreb Fair, Beached Boat – German Park near Boćarski dom in Zagreb, War Memorial in Labin, within the Mediterranean Sculpting Symposium, Apple in Crni Lug, within Goranska Sculpture Workshop Lokve; Monument Oluja („Storm“) 95 in Knin; Memorial to Seafares and Seafaring in Rijeka; Memorial to Children Killed in the Croatian War of Independence, Slavonski Brod; Memorial Tvrtko’s Mark, Prozor in Rama, Bosnia and Herzegovina, Memorial Cross of Rumboci, Rumboci, Bosnia and Herzegovina. Memorial sculpture by Branko Lustig at the Mirogoj Cemetery in Zagreb.
He received a number of awards (University of Zagreb, First prize in the Croatian Triennial of Watercolors, Award of Forum Gallery). He is a member of the Croatian Association of Artist and the Croatian Freelance Artist Association. Many of his works can be found in permanent displays of museums, private collections in country and abroad. He lives in Zagreb working as a freelance artist.
+385 91 2019 218