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Photo Boris Cvjetanović
Natural forms and formations make up the starting point for our observation and deliberation, as if germ or root, from which spatial drawings are to spring. Starting point and germ, well spring and origin, what has been primordially inscribed in our very selves as drawing, structure and form, and at an abstract level as consciousness. The drawings of our thoughts, feelings, consciousness, and our unconscious and subconscious being, are similar and subject to the same laws of incessant coming-into-being, growth, movement, swirling, branching, connecting up, networking; fractality, which we see in nature. It is all one, we are live fractals in majestic space-time manifestations of the living universe.
Each individual story is a record and drawing, each feeling, is one more stroke, drawn thicker or thinner, with stronger or lighter pressure, coloured more gloomily or brighter – in an aggregate.
How much we ourselves are exceeded by the great aggregate, how much it passes the borders of our understanding, we are able only to wonder. Here our knowledge and awareness come up sharp against the dark matter of the eternal mystery.
A leaf the capillaries of which repeat the structure of the tree – the trunk, the branch, the twig, the root, the hair root, their bifurcation, branching and spreading, is like the blood circulation, with its arteries, veins and capillaries. The circulation of the blood is like the veins of earth – its watercourses; its rivers, streams, brooks and tributaries, capillaries. The watercourse is like the patterns of electricity, lighting and electrical discharge. The structures of electricity are similar to neurological synapses. Criss-crossed neurons are like the webs of the spider, nets and ness. Threads of fine gossamer cover the wings of beetles. The contours of beetle wings mirror the contours of germs and seeds, drops and droplets.
The lines of the grains of trees, the lines of the layers of the earth, the lines of sand dunes, of hair, the lines of wrinkles; they are copied and are multiplied, the lines of space and time wind into infinity.
The circular and spiral forms of finger and foot prints, the waving and curling of hair and animals’ fur, the spiral forms of bivalves and snails, the vertical arrangements of petals and leaves. The formations of schools of fish and flocks of birds – living curves in motion, twists, spirals and vortices through air and water. The curves of high waves, centrifugal and centripetal forces, phenomena such as whirlpools, cyclones and anticyclones, twisters and hurricanes. The symmetries of electrons around the nuclei, the orbits of planets around the stars, the trajectory of solar systems around the centre of the galaxies. The galaxies in their circular, ellipsoid and vertical formations, sucking in black holes.
The invocation of consciousness – the spiral of mind and spirit, from the ancient myth of chaos – “the endless space in which, without any order, there are the elements of which the world comes into being”, via the philosophical look into the “faceless primordial substance that the spirit gave shape”, with its spiral orbit off into the unknown, via dark matter and black holes, and deeper, to the very heart of the unknowable and the inconceivable.
The relocated and transformed calligraphy of nature – its beauty put into the world of a visual game, into just one human frame, among the walls of the gallery, writes out its morphology of hand and pattern, builds up its interrelations, its reality. New and changeable – with just a change of angle of vision, by shifting of the body, by movement, the drawings get into each other, overlap, merge and fuse. The human spirit and body are live structures, with their presence, movement and experience they inhabit the empty space of the drawing and their surroundings in an incessant alternation of form and perspective.
translated by Graham McMaster
Photo Daia K. Cindrić
Photo Boris Debić
Photo Boris Debić
Photo Boris Debić
Photo Sonja Švec Španjol
Photo Boris Cvjetanović
Photo Sonja Švec Španjol
Photo Boris Debić
Photo Boris Debić
Photo Boris Debić
Photo Boris Cvjetanović
Photo Boris Debić
Fraktali
Prirodne forme i formacije čine ishodišnu točku promatranja i promišljanja kao klica ili korijen iz koje će izrasti prostorni crteži. Ishodište i klica, iskon i porijeklo, ono što je primordijalno upisano i u nas same kao crtež, struktura i oblik, a na apstraktnijoj razini i kao svijest. Crteži naših misli, osjećaja, svijesti, kao i našeg podsvjesnog i nesvjesnog bića, nalikuju i podložni su istim zakonitostima neprekidnog nastajanja, rasta, kretanja, vrtloženja, grananja, povezivanja, umrežavanja; fraktalnosti, koju vidimo u prirodi. Sve je jedno, živi smo fraktali u veličanstvenim prostorno vremenskim manifestacijama živućeg svemira. Svaka osobna priča, zapis je i crtež, svaki osjećaj, još je jedan potez tanje ili deblje povučen, slabijim ili jačim pritiskom, vedrije ili mračnije obojan ─ u zbiru.
Koliko nas same veliki zbir nadilazi, koliko prelazi granice našeg poimanja, možemo se samo pitati. Ovdje naše znanje i naša svijest udara o tamnu tvar vječnog misterija.
List koji kapilarno ponavlja strukturu stabla ─ debla, grana, grančica, korijenja, korijenčića, njihovog grananja i rasprostiranja ─ nalik je krvotoku, njegovim arterijama, venama i kapilarama. Krvotok je nalik žilama zemlje ─ njenim vodotokovima; rijekama, rječicama, potocima, rukavcima i pritocima, kapilarama. Vodotok je nalik uzorcima elektriciteta, munja i električnih pražnjenja. Strukture elektriciteta srodne su neurološkim vezama. Premreženi neuroni nalikuju pletivima pauka, mrežama i gnijezdima. Niti fine paučine prevlače i krila kukaca. Konture krila kukaca zrcale konture klica i sjemenki, kapi i kapljica.
Linije godova stabala, linije sedimentnih stijena, linije slojeva tla, linije pješčanih dina, linije kose, linije bora; preslikavaju se i umnažaju, zavijaju linije prostora i vremena u beskonačnost.
Kružne i spiralne forme otisaka prstiju i stopala, uvijanje i kovitlanje kose i životinjskog krzna, spiralni oblici školjaka i puževa, vrtložni rasporedi cvjetnih latica i listova. Formacije jata riba i ptica ─ žive krivulje u kretanju, zavoji, spirale i vrtlozi kroz vodu i zrak. Krivulje visokih valova, centrifugalne i centripetalne sile, pojave poput virova, ciklona i anticiklona, pijavica i uragana. Simetrije elektrona oko jezgri, orbite planeta oko zvijezda, putanje solarnih sistema oko središta galaksija. Galaksije u kružnim, elipsoidnim i vrtložnim formacijama, usisavajuće crne rupe.
Invokacija svijesti ─ spirala uma i duha, od drevnog mita o kaosu ─ “beskrajnom prostoru u kojem se bez reda nalaze elementi od kojih postaje svijet” preko filozofskog pogleda u “bezličnu pratvar kojoj je duh dao oblik”, pa spiralnom putanjom dalje u nepoznato, preko tamne tvari i crnih rupa, pa dublje, do samog srca nespoznatljivog i nepojmljivog.
Razmještena i transformirana kaligrafija prirode ─ njena ljepota postavljena u svijet likovne igre, u jedan samo ljudski okvir, među galerijske zidove ─ ispisuje svoju morfologiju rukopisa i uzoraka, gradi svoje međuodnose, svoju stvarnost. Novi i promjenjivi ─ već samom promjenom očišta, pomicanjem tijela, gibanjem ─ crteži ulaze jedni u druge, preklapaju se, prožimaju. Ljudski duh i tijela žive su strukture, svojom prisutnošću, kretanjem i doživljajem nastanjuju prazan prostor crteža i njihovih okruženja u neprestanoj izmjeni oblika i perspektiva.
