Petar Dolić


Izložba /Exhibition / Austellung



Zavičajna galerija Crnobori

svaki dan osim nedjelje od 20:30 – 22h


Izložba slika „Staklene ribe“


Banjole, Zavičajna galerija Crnobori - ZGC Gallery, 02.07.-11-07.2021

Povjesničarka umjetnosti i etnologinja Kristina Tamara Franić

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.

Petar Dolić


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.



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