http___gallery-hr.com_Maske_20i_20cvijet0707_EN_20T_20Maroevic.htm.xml
http___gallery-hr.com_Maske_20i_20cvijet0707_Maroevic_20Tonko_20o_20Nadi.htm_1.xml
1.1 2.1 2.2 2.3 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 4.5 4.6 5.1 5.2 5.3 5.4 5.5 5.6 6.1 6.2 6.3 6.4 7.1 7.2 7.3
Tonko Maroevic about Nadi Žiljak Although Nada (Kinert) Žiljak had grown up in a painter's environment and had very soon matured by becoming aware of her own capabilities to express herslef, she had relatively slowly made her decision to come out in public with her works. However, when she had started with exhibition projects after more then some ten years of working and growing in the separatness of a studio, she had a series of individual presentations in different techniques and disciplines, and she presented herself with a row of separate cycles of expressive iconographic programs and ambitious motive-linked incentives. After she had resolved the question of her own identity, in respect to her father's karizma and teacher's authority, and also in respect to the possible twin complex, she came out with her own views on everything that her lyrical drive and visual arts temperament made possible: on love and death, on growth and linking, on biological constants and changes in nature, on the life-giving germ and fruitful mixing, on earthly backgrounds and cosmic breakthroughs, on forming harmonies and colorist concords. Her individual flair is evident primarily in the movement character, in the manner the lines are drawn and in drawing the trail, sign. He character may also be seen from the way she manifests her comprehension of space, in treating the surface as a screen of intimate, onerous projections, and a palette of exceptionally contrasting relations between warm and cold colors, without prejudice or fear of the striking register of high and squeaky tones. Every stroke she makes on paper is not an indifferent cut and slash, a dynamic print of an almost ecstatic mood, and the whites and voids keep stored the tension of the privileged moments and keep the intensity from being lost in hypertrophy and saturation, filth and vagueness. Nada Žiljak's “cuneiform writing” not only possesses the elementariness of an ideogram, perhaps even the directness with which the prehistoric hunter once fixed the energetic impulses of the wanted animals, but even that emanation “kept forces of beings” that have been carried on through faraway millenniums by petrified fossils of fishes and birds. The almost pathetic seriousness of approach does not take for granted an exaggerated and morphological originality. Indeed, the artist promotes a completely personal dictum, but being aware of the enormous historical debts; the ones on the ontogenetical abscise but also the ones on the phylogenetic ordinate. Together with her direct predecessor (father), critics in her case think of Klee, Wols, Chagal and even Arcimboldo and Rhotko (and of Dora, adds gently her twin sister Dora). The wide scope of those associated tells us on one hand that it is not a question of an unambiguous loan, but of various assimilated affinities and the quest for one's own position in the crossing point of ordinarily divergent approaches and stylistic options. The basic culturological premises, therefore, could be set as the heritage of surrealism and enformel . The picturesque quality would be achieved in the sphere of some cursive figuration, and the autonomy of the gesture aims at voluntarism of abstraction. Nada Žiljak's drawing syntax creates sentences of evident darting and flaring, and the chromatic scale hence builds additional elements of appealing and apparition. Transcending physical limitations of the used means and iconic references she can not be merely illustrative even when she sets before herself those very tasks. Hence it is not strange that she makes her decision to have thematic circles of strong symbolic tension, by choosing verse of texts of bible origin, i.e. motifs and cycles of the cosmological, religious inspiration. For example and it is a well chosen example, when she chooses to do a visual art interpretation of Karol Wojtyla's opus. Better known as the Roman pope, this writer was an authentic interpreter and spokesman for a strong vision of God's presence among people, and even the sublimation of the existential anxiety in the widest ontological perspective. Even if she can not compete in everything with the theological implications of the Holy Father's words, our artist can follow him on equal terms in the metaphysical openness of the provoked images, i.e. bravely and humbly (in an almost equal measure) and reply to the provocation of the other-sidedness that is represented (set) by numerous phenomenon of earthly existence. If we observe the range of viewing and resurrection in the cycle inspired by Wojtila's poetry, we will be surprised by the profusion and variety. True, exalted hymn voices and solemn coral linking of elements prevail, but Nada Žiljak is skillful in making concrete each event, whether it is a question of mostly anthropomorphic accumulations ( Suputnici, Misao je cudnim prostranstvom ), or about intertwined pieces or structures mirroring elements of nature ( Pjesma o neiscrpnom suncu, Pjesma o sjaju vode ). We could also make a polarization having in mind the stronger introspective or extrovert accentuations. ( Otpocinje razgovor sa samim sobom, Otpocinje razgovor s Bogom ), and perhaps also in respect to the initial extremities ( Bojazan koja pociva u pocetku, Nada koja nadilazi kraj ). Quite true, in this sign of homonymy, Nada, the artist wishes to overpower the limitations of her media and to share her participation with all people of good faith. Perhaps in this she identifies a bit with the Old-Testament or New-Testament sections of prophesized mercy. In any case, with her rhythms and harmonies, her anxieties and vibrations she falls into step with the relevant spiritual heritage, and with her testimony she fulfills her role of engaged, partial evidencing.
1.1 2.1 2.2 2.3 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 4.5 4.6 5.1 5.2 5.3 5.4 5.5 5.6 6.1 6.2 6.3 7.1 7.2 7.3
Tonko Maroevic o Nadi Žiljak Odrasla u slikarskom ambijentu i vrlo brzo sazrela u prepoznavanju vlastitih izražajnih mogucnosti, Nada (Kinert) Žiljak se relativno sporo odlucivala izaci u javnost sa svojim radovima. Kada je, medutim, nakon više no desetljetnog rada i rasta u ateljerskoj izdvojenosti, startala takoder s izlagackim projektima, zaredala je s individualnim prezentacijama u razlicitim tehnikama i disciplinama, te se predstavila i s nizom posebnih ciklusa izrazitih ikonografskih programa i ambicioznih motivskih pobuda. Riješivši pitanje osobnog identiteta, kako u odnosu na ocevu umjetnicku karizmu i autoritet ucitelja, tako i naspram eventualnog blizanackog kompleksa, odlucno je progovorila na svoj nacin o svemu što joj je lirski nagon i likovni temperament omogucavao: o ljubavi i smrti, o rastu i ulancavanju, o biološkim konstantama i mijenama u prirodi, o životodajnoj klici i plodonosnim miješanjima, o zemaljskim podlogama i kozmickim prodorima, o oblikovnim suglasjima i koloristickim sazvucjima... Individualni nerv se ocituje ponajprije u karakteru poteza, u nacinu vodenja linije i ocrtavanju traga, znaka. Svojstvenu narav iskazuje i u shvacanju prostora, u tretiranju plohe kao ekrana intimistickih, onirickih projekcija, a specificna joj je i paleta izrazito kontrastnih odnosa toplih i hladnih boja, bez predrasuda i straha od apartnog registra visokih i piskutavih tonova. Svaki potez na papiru neravnodušan je rez i zasjek, dinamican otisak gotovo ekstatickog raspoloženja, a bjeline i praznine cuvaju napon povlaštenih trenutaka i prijece da se intenziteti ne izgube u hipertrofiji i zasicenosti, prljavštini i neodredenosti. "Klinasto pismo" Nade Žiljak ima ne samo prvotnost ideograma, pa možda i izravnost kojom je prapovijesni lovac fiksirao energetske impulse priželjkivanih životinja, nego cak i onu emanaciju "zadržanih sila bica" (da se tinovski ispomognemo) što ih okamenjeni fosili riba i ptica proniješe kroz daleka i duboka tisucljeca. Gotovo pateticna ozbiljnost pristupa ne podrazumijeva pretjeranu i morfološku originalnost. Dapace, autorica njeguje sasvim osobni diktus ali sa sviješcu o golemim povijesnim dugovanjima, kako na ontogenetskoj apscisi tako i na filogenetskoj ordinati. Uz nemimoilaznoga izravnog pretka, kritika se s razlogom u njezinu slucaju prisjeca Kleea, Wolsa, Chagala, pa i Arcimboldoa i Rothkoa (i Dora, pridodaje s nježnošcu blizanka joj Dora). Širina pobudenih asocijacija govori, sa svoje strane, kako nije rijec o nekoj jednoznacnoj posudbi, vec o raznolikim asimiliranim afinitetima i traženju vlastita mjesta na presjecištu inace divergentnih pristupa i stilskih opcija. Osnovne kulturološke premise, dakle, mogle bi se naznaciti kao baština nadrealizma i enformela. Slikovitost bi se ostvarivala na podrucju nekakve kurzivne figuracije, a autonomija geste teži pak voluntarizmu apstrahiranja. Crtacka sintaksa Nade Žiljak tvori recenice evidentnoga palucanja i plamsanja, a kromatska ljestvica pritom dograduje protege prizivanja i prividanja. Transcendirajuci fizicka ogranicenja korištenih sredstava i ikonickih referenci, ona ne može biti puko ilustrativna niti kada pred sebe postavi upravo takve zadatke. Stoga nije cudno da se cešce odlucuje za tematske krugove jakoga simbolickog naboja, za stihove ili tekstove biblijskoga ishodišta odnosno motive i cikluse kozmološkoga, religioznoga nadahnuca. Primjerice, a primjer je sretan, kad se opredijeli za likovnu interpretaciju pjesnickoga opusa Karola Wojtyle. Poznatiji kao rimski papa, taj je književni autor autentican tumac i zagovornik jedne snažne vizije božje nazocnosti medu ljudima, pa i sublimacije egzistencijalne tjeskobe u najširoj ontološkoj perspektivi. Ako se i ne može u svemu takmiti s teološkim implikacijama govorenja Svetoga Oca, naša slikarica ga može ravnopravno slijediti u metafizickoj otvorenosti pobudenih slika, to jest smjelo i ponizno (u gotovo podjednakoj mjeri) odgovoriti na izazov onostranosti što ga predstavljaju (postavljaju) brojni fenomeni ovozemnog postojanja. Pogledamo li raspone videnja i oživljavanja u ciklusu nadahnutom Wojtylinim pjesništvom, zacudit ce nas bogatstvo i raznolikost. Istina je da prevladavaju uznositi himnicki glasovi i svecana koralna povezanost elemenata, ali Nada Žiljak umije konkretizirati svaku zgodu, bilo da je rijec o pretežno antropomorfnim akumulacijama ("Suputnicima", "Misao je cudnim prostranstvom") bilo o spletovima ili strukturama u kojima se zrcale prirodna pocela ("Pjesma o neiscrpnom suncu", "Pjesma o sjaju vode"). Polarizaciju bismo takoder mogli izvesti i s obzirom na jace introspektivne ili pak ekstrovertne naglaske ("Otpocinje razgovor sa samim sobom", "Otpocinje razgovor s Bogom"), a valjda i u odnosu na ishodišne krajnosti ("Bojazan koja pociva u pocetku", "Nada koja nadilazi kraj"). Doista, u znaku homonimije, Nade, autorica želi nadmašiti ogranicenje svojega medija i podijeliti svoje sudjelovanje sa svim ljudima "dobre volje". Možda se pritom pomalo poistovjecuje i sa starozavjetnim ili novozavjetnim ("Jakov", "Ivanova molba ") dionicima naviještenih milosti. Kako bilo, svojim ritmovima i skladovima, svojim strepnjama i treperenjima hvata korak s relevantnom duhovnom baštinom, a svojim procucenim iskazom ispunja preuzetu ulogu zauzeta, pristrana svjedocenja.