Vojo Stanic
Mostra presentata dalla Liquid art system di Franco Senesi in collaborazione con Gayo Gallerie.
Comunicato stampa
Vojo Stanic SAILING ON DREAMS Sabato 25 giugno
presentata dalla Liquid art system di Franco Senesi
in collaborazione con Gayo Gallerie.
L’appuntamento è Sabato 25 Giugno dalle ore 19 alla
Liquid Capri
Via Vittorio Emanuele,56 - Capri
tel.081 0191479
HE PAINTING OF VOJISLAV STANIC
By Professor Valeri S. Turchin* Immersing into ”The World of Stanic”
There are times when it may appear that the story behind the work of art is detrimental to art; that art itself has its own missions. However the entire history of art contradicts this concept by multiple examples. Doubtlessly one such example is the work of Vojo Stanic a Montenegrin virtuoso a master of fantastic and captivating sub- ject matter. The window of his studio embedded in his house in Herceg Novi opens up on a breathtaking view of the waterfront and sea. Looking through the pair of binoculars that stand beside the window one’s eyes come to rest on the deep boundless space. The near and the far are forged together into one unique scene.
The walls of the house are adorned Vith its owner’s paintings. Stanic who is past eighty now continues with his work with unwavering dedication creating unique “stories” a kind of “history” of epic magnitude in spite of the virtually typical relatively small mea- surements of his paintings. However the size of the paintings is absolutely beside the point. By immersing oneself into “the world of Stanic” you loose count of everything else.
It is all so interesting so tempting.
Standing in front of Stanic’s painting one’s eyes begin to comprehend that there exists a town a town together with its suburbia. It is provincial but never sleepy or with- drawn; rather vigorous vibrating with life and diversion. A town that cannot be traced on any existing map since it is a product of the make believe world of Vojo Stanic. The town lives of its own accord within the undecipher¬able bounds of the realm of the imaginary. It spreads and diminishes by its own tenacity and has no point of bear- ing in the real world; it rather travels along the seashores ferrying its inhabitants and their guest with it. However there comes a time when apparently certain buildings and monumental archeological findings spring forward and together with an awareness of reminiscences of Belgrade and Rome scenery which despite their separate existence in the domain of reality filter through and find themselves in the conditional geography of the world of art i.e. “the world of Stanic”. Into this “world” glimpses of the town where the master dwells to this day are organically intertwined.
His knowledge of the art of the Middle Ages is of great importance too. In its way Stanic’s colouring resembles fresco painting. The colours are indigenous but not varie- gated. The painting always has a close knit colour array. Notwithstand¬ing everything else it is also beautiful... It taunts with its naivety; the naivety that has been endured
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experienced and reasoned through. It is forceful it is heartfelt... It must be specifically noted that the artist is a master of colourism. His script is distinctive. It is highly idio- syncratic.
Such painting lacks texture by design since it is impervious to the beauty of ap¬plying one brush stroke upon another onto the canvas. The opposite turns out to be true; the painting is smooth as it is of utmost importance to allow the viewer to fully grasp everything that is taking place. Each carefully conceived detail be¬comes essen- tial to the theme. Each and every hallucination is far more exciting when it resembles reality. Dreams become scary the more they come close to and the more they are simi- lar to life. These are the words of both Dali and Magritte. Such are the writings of those who value the idea of the obsessive illusion of the imaginary that gives the impression of life where the imagined and the perceived blend into one; become bewitching magical and convincing.
The beauty of the coats of paint may distract oneVattention from the essential the attempt to fathom the mysteries of this world which is at the same time so realistic and so absurd. Apart from this smooth textures create a feeling of some¬thing that has not been touched by hand. The sensation is more of an impression of a mirrored image of the world that stands facing it.
Attention should be paid to the specific development of the painting’s setting to the intrusive perspectives of a certain metaphysical character to the interest of the painter to intertwine all forms which similar to Bosch or to Eastern painters form a unique composition entity out of a multitude of particles.
And finally once the vista of the town panorama is abandoned and the theme turns to the interior the one thing that immediately catches the eye is the motif of open doors and windows the recurrent use of the motif of passing from one When he is not attenuating the distance of the object he is depicting the master likes to take a look from above in a highly distanced manner. With the keen eye of an unfettered bird float- ing high above the artist takes note of the interesting and the unpredictable. He is actu- ally an observer. Following his path the viewer becomes one too.
