DAMIR FACAN-GRDIŠA EGZISTENCIJE EXISTENCE

DAMIR FACAN-GRDIŠA EGZISTENCIJE EXISTENCE

Studio Moderne galerije Josip Račić _ Margaretska 3 _ Zagreb _ 19.5. - 7.6. 2015.

Labirinti i vrtlozi egzistencije

Prizori što nam ih predstavlja Damir Facan-Grdiša imaju

uznemirujuću, dramatičnu, gotovo apokaliptičnu motiviku,

a svojom ritmizacijom ukazuju na dinamično, afektivno

sudjelovanje. To su fantastične urbane aglomeracije

visokih sablasnih građevina, ispražnjenih metafizičkih

tornjeva. To su ispresijecani vijadukti i prepletene brane,

između kojih teku bujice nezaustavljive vode. To su duboka

mora i opustjele pučine, po kojima se gube nemoćni

brodovi. To su prostori neodredivih protega na kojima se

uzdižu naftni tornjevi iz kojih sukljaju plameni barjačići,

a po površinama se valjaju iz osovina istrgnuta mlinska

kola ili kotači koji su pokretali riječne parobrode. Da stvar

bude gora (ili pokrenutija, zanimljivija, slikovitija) gradski

su ambijenti kao potresom razdrmani i pritom često

vatrom oprljeni, dok se u nekoliko prizora iz dubine pomalja

i divovska orangutanska figura (nekakav King Kong) koji

već ionako labilnu ravnotežu posebno dovodi u pitanje.

S druge strane, morske situacije kao da teže vrtloženju,

uviranju u bezdan (nekakav poovski Maelstrom).

Opisujući karakteristične kadrove vidljivo je da govorimo o

prizorima određene narativne povezanosti, gotovo sekven-

cama nekog animiranog filma ili čak ilustracijama morbid-

nih, makabrističkih priča. Ako vizije Damira Facana imaju i

neuklonjivu mjeru literarnosti, na drugoj strani stoje zalozi

također neosporive likovne izražajnosti. Predstavljajući

labirintične strukture i ondulatorne pokrete, slikar pokazuje

sasvim specifičan osobni rukopis i iznimnu sposobnost živog

kontrastriranja najraznorodnijih svojstava, od polarizacije

svjetla i sjene do kontaminacije figuralnih i apstraktnih

TONKO MAROEVIĆ

2 I EGZISTENCIJE _ EXISTENCE

I PREDGOVOR _ PREFACE

ZASTOR / CURTAIN, 2014150X100 CM

AKVAREL-PAPIR / WATERCOLOUR-PAPER 640G

slojeva. Naglašeni iluzionizam detalja subordiniran je deko-

rativnosti, ornamentalnosti kompozicionih cjelina.

Organička toplina sugeriranih građevina (i zapaljenih parcela)

kontrastirana je mineralnom hladnoćom vodenog elementa.

Tražeći zajednički nazivnik Facanova likovnog jezika naći

ćemo najprije u gustom aktiviranju površine, u upravo

srednjovjekovnom poimanju horror vacui (strah od praz-

nine). Nema djelića kadra ili polja koji ne bi bili ispunjeni

cikcakastim potezima, vijugastim linijama, pravokutnim

perforacijama, paralelnim nizovima vrpčastih tokova.

Pritom su svi ti, inače često sićušni, elementi tretirani

iluzionistički, to jest sjenčenjem trodimenzionalno sugerirani,

tonskim stupnjevanjem izdignuti iz plošne podloge.

Bilo da je riječ o morskim valovima ili kućnim prozorima, o

plamenim jezičcima ili brodskim dimovima, o lopaticama

kotača ili dlakavom krznu majmuna, slikareva minuciozna

interpretacija gradi cjeline zbrajanjem sličnih strukturalnih

elemenata, odnosno metodičnom akumulacijom uobličenih

čestica.

Premda je motivika Damira Facana-Grdiše pomalo SF

provenijencije (možda posredstvom filma ili stripa, manje

vjerojatno književnosti) njegova je izvedba zapravo bliža

geštaltičko iluzionističkim ili čak opartističkim tendencija-

ma. Pogotovo u kompozicjama pročišćenih od viška nara-

tivnih sastojaka, on umije doći do snažnih jukstaponiranja

grafički i kromatski diferenciranih struktura, do dinamičnog

polariziranja raznoliko napetih parcela, jednom riječju do

učinka koji je vizualno atraktivan i čak na stanovit način

sociološki-psihološki indikativan (kao dijagnoza o ljudskom

mravinjaku ili o prijetnji sveopće propasti, ali time

otvaramo digresiju jedne druge moguće interpretacije).

EGZISTENCIJE _ EXISTENCE I 3

PREDGOVOR _ PREFACE I


I DAMIR FACAN-GRDIŠA _ 2015


GORILLA AQUATICUS, 2013150X100 CM


DAMIR FACAN-GRDIŠA _ 2015 I

PUELLA GORILLAE, 2012150X100 CM




TJESNAC MORSKI / SEA STRAITS, 2013150X100 CM


Mazes and Maelstroms of Existence

The scenes presented by Damir Facan-Grdiša have disturbing,

dramatic, almost apocalyptic motifs and with their

rhythmics they indicate a dynamic, affective participation.

These are fantastic, urban agglomerations of emptied

metaphysical towers. A torrent of uncontainable water

flows between intersected viaducts and entwined dams.

They are deep seas where helpless ships are lost. In these

indeterminable spaces oil towers, with little flames

bursting out, rise and torn mill wheels and wheels that

used to start up river steam boats roll across these

surfaces. To make things worse (or more activating, more

interesting, more picturesque) urban surroundings seem

to be shaken up by an earthquake and often scorched by

fire, while in several scenes a gigantic orangutan figure

appears from the depth (a kind of King Kong) and

compromises the already fragile balance. On the other

hand, marine situations aspire to turmoil, to disappearing

in an abyss (a sort of Poe’s Maelstrom).

It is obvious that, describing characteristic views, we are

talking about scenes of a certain narrative connection,

sequences of an animated film or even about illustrations

of morbid, macabre stories. Though Facan’s visions have

an uneliminable literary measure, they include, on the other

hand, pledges of unquestionable visual artistic expressive-

ness as well. Presenting his labyrinthine structures and

undulating drives, the painter shows a very specific person-

al handwriting and an exceptional ability for contrasting

very disparate characteristics, from polarization of light

and shadow to contamination of figurative abstract layers.

The pronounced illusoriness of details is subordinated to

TONKO MAROEVIĆ




HRAPAVO / UNPOLISHED, 2013150X100 CM





GORILLA IGNEUS, 2013150X100 CM




TEZETA, 2015150X100 CM


decorativeness, to the ornamentality of compositional

entities. The organic warmth of the suggested buildings

(and burning plots) is contrasted to the mineral coldness of

the water element.

We can find the common denominator of Facan’s

visual-arts language primarily in his dense activation of

the surface, in his literally medieval understanding of

horror vacui (a fear of void). Not a single piece of a frame

or field remains unfilled with zizag strokes, winding lines,

rectangular perforations, parallel strings of ribbonlike

flows. In the process, all these, often miniscule, elements

are treated in an illusionist way, i.e. they are three-dimen-

sionally suggested by shading and lifted from the flat

background by tonal gradation. Whether it is about sea

waves or house windows, flaming little tongues or ships’

smokes, wheel blades or the hairy fur of the monkey the

painter’s meticulous interpretation builds entities by

adding similar structural elements, that is, by methodical

accumulation of shaped fragments.

Though Facan’s motifs seem to originate from the SF

domain to a certain extent (perhaps adopted through films

or comic books, less likely through literature), his

performance is in fact closer to Gestalt illusionists’ or even

op-artistic tendencies. Especially in compositions cleansed

of superfluous narrative elements, he knows how to create

a powerful juxtapositioning of graphically and

chromatically differentiated structures and dynamic

polarization of differently tense plots, so he achieves a

visually attractive and even, in a certain way,

socio-psychologically indicative effect (like a diagnosis of a

human anthill or a threat of general disaster, but we would

now digress to another possible interpretation).






VODA NAĐE PUT / WATER SEEKS ITS OWN CHANNEL, 2014150X100 CMAKVAREL-PAPIR / WATERCOLOUR-PAPER 640G


KOLOVOZ / AUGUST, 2014150X100 CM


Damir Facan-Grdiša rođen je 1965. godine u Zagrebu. Umjet-

ničko obrazovanje počinje u Školi za primijenjenu umjetnost na

Odjelu zidnih slikarskih tehnika, a 1990. godine diplomirao ja na

Odsjeku za slikarstvo Akademije likovnih umjetnosti u Zagrebu,

u klasi profesora Ive Friščića. Poslije studija nastavnik je likovnih

stručnih predmeta na Obrtničkoj školi u Zagrebu do 1998. godine.

Nakon toga radi kao samostalni umjetnik, izlaže i surađuje s više

izdavačkih kuća, koje objavljuju njegove ilustracije.

Član je HDLU-a, ULUPUH-a, a od 2002. godine i HZSU-a.

Uza slikarstvo, koje mu je primarni medij umjetničkog izražavanja,

Damir Facan-Grdiša od 1986. godine radi kao vanjski suradnik

Restauratorskog zavoda Hrvatske, a od 2000. godine i kao samos-

talni licencirani restaurator za zidno slikarstvo.

Damir Facan-Grdiša was born in 1965 in Zagreb. He started

his art education at the School of Applied Arts and Design, the

Department for wall painting techniques, and graduated from the

Academy of Fine Arts, Painting Study, in the class of Ivo Friščić,

the University of Zagreb. Until 1998 he had worked as a profes-

sional subject teacher at Obrtnička škola (the Craft and Industrial

Building School) in Zagreb. For tha last sixteen years he has been

working as an independent artist, exhibiting and cooperating with

several publishing houses which have published his illustrations.

He is a member of the Croatian Association of Artists (HDLU), of

the Croatian Association of Artists of Applied Arts (ULUPUH) and,

since 2002, of the Croatian Freelance Artists’ Association (HZSU).

Besides painting, which is his primary means of artistic expres-

sion, since 1986 Damif Facan-Grdiša has been working as an

associate in the Croatian Conservation Institute and, since 2000,

as an independent licenced restaurator for wall paintings as well. Živi i radi u Zagrebu / He lives and work in Zagreb _ Draškovićeva 25

M 0915793606 _ T/F 01 4617096 _ [email protected]


I BIOGRAFIJA _ CURRICULUM VITAE

JA PLIVAM LOŠE / MY POOR SWIMMING, 2014150X100 CM


1988. _ 20. salon mladih, Zagreb

1990. _ 22. salon mladih, Zagreb

1993. _ Nova hrvatska umjetnost, Umjetnički paviljon, Zagreb

1999. _ Samostalna izložba ilustracija, Knjižnica Marije Jurić Zagorke

2004. _ 3. hrvatski trijenale akvarela, Slavonski Brod, Karlovac, Zagreb

2005. _ Akvarelistička kolonija Sava, Likovni salon Vladimir Becić

2007. _ 4. hrvatski trijenale akvarela, Slavonski Brod, Karlovac, Zagreb

2009. _ 5. zagorski likovni salon, Galerija grada Krapine

2010. _ 5. hrvatski trijenale akvarela, Slavonski Brod, Karlovac, Šibenik, Zagreb

2011. _Samostalna izložba ilustracija, Knjižnica Marina Držića, Zagreb


_ Godišnja izložba članova HDLU-a, Dom hrvatskih umjetnika Zagreb

_ Akvarelistička kolonija Sava, Likovni salon Vladimir Becić

2013. _ 6. hrvatski trijenale akvarela, Slavonski Brod, Karlovac


1988 _ 20th Youth Salon, Zagreb

1990 _ 22nd Youth Salon, Zagreb

1993 _ New Croatian Art, Art Pavilion, Zagreb

1999 _ solo exhibition of illustrations, Library Marija Jurić Zagorka

2004 _ 3rd Croatian Watercolour Triennale, Slavonski Brod, Karlovac, Zagreb

2005 _ watercolourists’ colony Sava, Vladimir Becić Art Salon

2007 _ 4th Croatian Watercolour Triennale, Slavonski Brod, Karlovac, Zagreb

2009 _ 5th Zagorje Art Salon, Krapina Town Gallery

2010 _ 5th Croatian Watercolour Triennale, Slavonski Brod, Karlovac, Šibenik, Zagreb

2011 _ solo exhibition of illustrations, Library Marina Držića, Zagreb


_ annual exhibition of the Croatian Association of Artists members

_ watercolourist colony Sava, Vladimir Becić Art Salon

2013 _ 6th Croatian Watercolour Triennale, Slavonski Brod, Karlovac



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DAMIR FACAN-GRDIŠAEGZISTENCIJE / EXISTENCE

STUDIO MODERNE GALERIJE JOSIP RAČIĆ / MODERN GALLERY STUDIO JOSIP RAČIĆMARGARETSKA 3, ZAGREB

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STUDIO

BISERKA RAUTER PLANČIĆ

TONKO MAROEVIĆ

DAMIR FACAN-GRDIŠA, LANA ŠETKA

ANDRIJA ZELMANOVIĆPETAR STRMEČKI - FAB

LANA ŠETKA

DUNJA PALČOK

IVANA IVANKOVIĆ

ZRINSKI

200 PRIMJERAKA / 200 COPIES

978-953-348-008-4

000905355

ANA, BARBARA, BORIS, CHARLOTTE, DUJE,

DRAGEC, GORANA, MAJA, MILJENKO, MIRJANA,

RAKIJE MAGDIĆ

© MODERNA GALERIJA / MODERN GALLERY 2015

IMPRESUM _ IMPRESSUM I

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DAMIR FACAN-GRDIŠA EGZISTENCIJE EXISTENCE