Petar Dolić

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.