Culic Dragan-painter
Mixed technique on parchment MARIONETTES
THE AUTHOR ABOUT “MARIONETTE”
Illusion is the main component of my approach to a painting. In order to make it fully expressed, I use classical material that cannot burden a lot with its materialism. Besides, paper is very worthy foundation for the india ink drawings. In this case, very important is that paper has a characteristic to pass the light through, under some special circumstances.
Every concept, being either materialistic or abstract substance, is made of parts. The way these parts are connected as a whole define that concept. Format, consisting of segments, determines much the composition and structure of the painting. It is matter of personal selection in what relation the parts will be one to another and to the whole as well.
I mainly use a composition made of nine parts. The number of possible combinations within this scheme seems quite enough to express all what is important for me during my painting. Very important fact is that the central part, in such structure, is in communication with all the other parts. Drawing, which conjures up the illusion, is a fabric that connects these parts into unique corps.
What makes the painting unique, beside drawing, is a light. In this case the light is getting through the painting from the back. With this, the painting has its own illumination and there is an impression that light comes from the painting itself.
The paper has a special impregnation. Than it is painted so that light get through unequally and with this suggests the space and the atmosphere of the painting. Although in my works, mainly, I do not use colour, the light itself causes the appearance of specific colouring.
If we agree that a drawing presents a border between, so called, real and unreal world, than the light by one kind of osmosis makes this border more flexible.
The amount and type of light, coming from the front part and the one coming from the back of the painting causes some oscillations in the space of the painting.
Very interesting to be mentioned is that with such light, the painting, although very discretely, projects itself in the front space and somehow “communicate” with it. This can be compared with the reflection of individual consciousness in relation to Uniersum and vice versa. This phenomena can be seen in “vitrage-stained glass windows” but the personal experence is under bigger control here.
In a case that intensity of light from the back is determinrd by impulses, in accordance with the chosen sound signals, dialogue with the observer will be more direct and active.
Probably, all this makes You feel the painting more intensively than only several pieces of paper with indian ink on it.
Although watching of such pictures gives the impression of the third dimension, my intention and wish is to reach some other dimensions as well.