Goran Rakić
Goran Rakić je rođen 22. februara 1956. godine u Kragujevcu. Završio je Akademiju likovnih umetnosti u Sara- jevu 1986. godine, u klasi profesora Milivoja Unkovića, odsek slikarstvo. Postdiplomske studije je zavrsio u Beogradu, na Fakultetu likovnih umetnosti, u klasi profesora Živojina Turinskog 1991. godine. Član je Udruženje likovnih umetnika (ULUS) od 1987. Bio je zaposlen kao redovni profesor na FILUM-u u Kragujevcu. Živi u Kragujevcu.
Goran Rakic was born on 22 February 1956 in Kragujevac. He graduated from the Academy of Fine Arts in Sarajevo in 1986, in the class of Pro- fessor Milivoj Unkovic, at the Depart- ment of Painting. He completed his postgraduate studies at the Faculty of Fine Arts in Belgrade, in the class of ProfessorZivojin Turinski in 1991. He has been a member of the Associ- ation of Fine Artists of Serbia (ULUS) since 1987. He was employed as a full professor of painting at the Faculty of Philology and Arts (FILUM) in Kragujevac. He lives in Kragujevac.
Istina imaginacije
Slikarstvo danas opstaje i kroz borbenost sopstvenog ushićenja. Kroz prostiranje ličnih trenutaka u nastajanju slike, od tih oslobađajućih poriva koji se, uostalom, račvaju od početaka moderne umetnosti i ideala slobode. Senzacije u nalazima na slikanoj površini pokatkad upute i na zasebnu oblast: na uskovitalni prenos energije naravi svog nastanka. Vreme za fiksiranje slike, poteza i pređenih tragova, taj koloristički raspon, kao i iznenađenja bio je u tim pionirskim razdobljima dinamična imaginacija pokretljivosti poteza. Slaveći te pređene pravce vlastite slobode unutar prepreka opstanka, uprkos svim potresima koje su okruživali izvorno moderno doba, istorijsko razdoblje oslobađajućih sila umetničke samoće, takva razvijorena imaginacija ponela je najistančanije vezivo svojih prepleta heroja modernog doba. Likovna dela i uopšte uzev, kompozicije takvih poteza i kolorističkih strujanja postala su - i sada se preko stotinu dvadeset godina kasnije - ukazuju kao izazov beskrajnog traganja i emocija samotnog stvaraoca. Isto tako je i njihovo pribežište, uteha i energetski rezervoar zaustavljenih tragova na površini podloge za samog posmatrača. Sloboda pomeranja granica kakve su odnegovali svako za sebe, i Pikaso ili Matis, kao i Kandinski ili Paul Kle, neminovno su deo današnjeg rečnika sanjarenja, vizije i emocionalne snage.
Veličina prošlosti i naslojeno ali i zatirano pamćenje, kao i nejasna budućnost su u prvim decenijama prošlog veka, kao i sada stremili ka pomeranju autorskog modusa i htenja. Kako svest stvaraoca opstaje u obnovljenim i drukčijim opasnostima, u ekonomskoj, geopolitičkoj i klimatskoj razornosti? U današnjici lociranih ratova, u neprekidanim i razotkrivanim uništenjima i zamornim preispitivanjima?
Kroz teme i figurativnih odraze i usled pritiska masovne kulture, pod pretovarom informacijama i ironijskom razradom svega vidljivog, potiskuje se sledeće saznanje: svet tog spontano građenog slikarskog umeća, praćenjem i prenosom ideje napretka i optičkih izmena u modernosti, prerastao je u zasebnu oblast.
Objedinjena su iskustva kao fenomen koji se nalazi s neke druge strane. Iz tog razloga, veština slikarskog domašaja mora da se stepenuje u kategoriji raspona kreativnosti umetnika. Da li je izoštravanje optičkog pogleda ispunilo naše instinktivne, fizičke reflekse pri opažanju? Osobine procesa slikanja Gorana Rakića stapaju se kao vlastita izražajna kategorija. Naslovi kompozicija: „Krug“, ‘Neka nova šarada’, ‘Sećanje na Sitoniju’, “Ritam grada“, „Sve što ona želi“, „Letnji dan“, „Bura – Novi početak“, „Sećanje na dvorište u Titovoj 5“ istovremeno su u svojim velikim formatima i izražajnim zahvatima i delatno svedočenje, dokaz o odvažnom i osnažujućem slikarskom življenju.
Uvezanost njegovih izvedenih poteza i kolorističkih površina čine da se prizori postavljaju kao psihološki poligoni samosvojnog jezika. Kroz faze oblikovanja, strastveno rukopisno građenje predstave zaustavlja se samo fizički na slikanju površine. I ma koliko je naš okolni svet u vidljivim slojevima zahvaćen prema čulu taktilnosti, isto tako se i ka prodornosti svojih izazova, takav svet u očima drugih, podrazumeva neretko u ekspanziji okruženja ravnodušnosti. A kako je splet stvaranja i ranije bio udaljen od realnog, od života te ’vergilijevske’ selidbe duše pod iskušenjima zemaljskog i kroz slutnje onog drugog života, čini da je susticanje i opšte i lične istorije postalo sve teže sačuvati.
Fizički, i u medijumu slikanja, ovakav put je istraživanje prirode istaknutog fenomena posmatranja „kroz naslojenu materiju“, pomicanje suštine statičnosti slikarstva kao posledice začudnog pretapanja duševnog dozivljaja pamćenja.
Stvaralaštvo bi se i vremenski moglo podešati na biološki način. Zrenje sezona 21. veka obuhvata raznorodne krize i nesigurnosti. Danas, kako se u epidemiji ravnodušnosti uostalom sve podrazumeva i trenutno rastvara, dobra volja po kojoj ka nečemu pristupamo, posustaje. Neretko, iskreno htenje dospeva pred unutarnja utvrđenja samozatajnih protagonista i zastajkuje usled ekstatičnih socijalnih umreženja i nezaustavljivih diktata stvaralaštva. Šta nam mentalno, sadržajno i afektivno može učiniti izvedenost kompozicije jedne slike, te površine nastanjene iluzijama i otud njenim pulsirajućim deonicama? Isto tako i svedenom biološkom uočljivošću i konturama upamćenog? Protivurečne temperature između faza i iskušenja koje sadrže slikane kompozicije Gorana Rakića zarobljavaju pažnju raspoznatljivim sastojcima, ali i svojim indirektnim pružanjem.
Oslobađanje slike kao putokaza pronalazi smisao i svoj savremeni zaplet u poništavanju logike društvenog ugleda i svođenja na puku ekspresiju koja je odlikovala slikarstvo novog znaka u ekspresiji pojave ’nove slike’. Tadašnje dinamizovanje zapažanja u umetnosti osamdesetih godina, pre skoro četiri decenije ciljalo je na dokaz preokreta stvaralačke slobode. Jednako u kulturi, i promenama u koje su od tada kao duh vremena globalno ulazila mnoge društvene sredine. Doprinosi slikareve spontanosti upućeni su ka prožimanju potisnutih oslonaca od pre, u predstavama, događajima i u vrednovanju vlastitog vremena. Koloristički planovi, asocirani oblici i teksture imaju diskretno ekscesnu prirodu, i kao takvi nastanjuju hibridne povesti intuitivne imaginacije. Oni doprinose raspoznavanju potiskivane energije iskonskog koje nas kao tradicija koja nas je zarobila, približuju sublimaciji mitskog mišljenja.
Naslovi naslikanih kompozicija „Jutro u Mon Perinu“, „Uspomene“, „ Oaza“ – pokazatelji su izabranih unosa energije svih vrsta, U njima Rakićeva stvaralačka tišina je zaustavljena da pred posmatračem sprovodi vizuelnu atmosferu dinamizama svetlosne i materijalne imaginacije. Prizori zaobilaze autentično otkrivanje, ne samo vlastitosti, već i odnegovanih događaja u kojima se izmičući subjekt ili tema sustiču u opčinjavajućoj igri afektivnog definisanja.
Slikarev kaleidoskop oblika i doživljaja time se ukazuje kao alternativna pripovest uzroka, a jednako i posledica, datih snagom istraživačke iskrenosti.
Nikola Šuica
Imaginative ordeal
The survival of the Art of Painting in contemporary realm depends on a combative personal excitement. Throughout array of personal moments in the making of a painted image, there are significant liberating impulses. They can be followed from the very beginnings of modern art and the ideal of freedom. Sensations made in such findings are now a heritage along painted surface and accentuated zones of visibility: toward vital transmission of the vital energy of its very origin.
Processing the parts of the painting from this modernist pioneering age follows the strokes and traces, the chosen color range, as well as the expressive surprises. Its result a composition of a dynamic imagination is a finding of mobility of brushstrokes and layers. Celebrating those traces of freedom within the ever present obstacles of survival documents the upheavals that surrounded the original Modern age. Previous, as well as current historical period tells us about sense of society but not what these visions were made to do. They are a significant and precious inheritance of liberating forces of artistic struggle: areas where a wild imagination carries the disposition and interweaving layers, as well as the solitude. Visual compositions of such moves and color trends became - and now over one hundred and twenty years later - appear as a challenge to the endless search and emotions of a solitary creator.
In the same way, they are a reverence of identifiers, a consolation and an energy reservoir of suspended tracks on the painted surface of the substrate for the observer himself. The freedom to move the boundaries of representation is well known task. It is nurtured by everyone for themselves, both as it were for Picasso or Matisse, as well as Kandinsky or Paul Klee, becoming an inevitable part of today’s painting alphabet of dreaming, vision and emotional strength.
The impact of the past and the layered but also suppressed memory, as well as the unclear future, in the first decades of the last century, hasn’t changed now, tended to shift the author’s mode and will. How does the creator’s consciousness survive in renewed and different perils? Throughout economic, geopolitical and climatic devastation? In today’s localized wars, in continuous and exposed destructions and tiresome redefinings?
Scope of themes and figurative reflections is for decades under the pressure of mass culture and an overload of information. Ironic effect embraces everything that became visible, as well as the knowledge itself: the world of spontaneously made painting a skill, follows the idea of progress and optical changes now ceased modernity and has grown into a separate notion. Experiences are united as a psychological phenomenon - a force of sequences. The skill of painted creation must be graded in the category of artist’s range of vision. Has this sharpening of the optical sight fulfilled our instinctive, physical reflexes of perception?
Goran Rakić’s painting process merge as a withholding expressive category. Composition titles: “Circle”, “Some new charade”, “Remembrance of Sitonia”, “Rhythm of the city”, “Everything she wants”, “Summer day”, “Storm – a New beginning”, “Memory of the yard in Titova St.5 “ in their large formats and striking manner are also an active testimony proof of a daring and empowering painterly lifestyle.
Goran Rakić’s painting process merge as a withholding expressive category. Composition titles: “Circle”, “Some new charade”, “Remembrance of Sitonia”, “Rhythm of the city”, “Everything she wants”, “Summer day”, “Storm – a New beginning”, “Memory of the yard in Titova St.5 “ in their large formats and striking manner are also an active testimony proof of a daring and empowering painterly lifestyle.
The accordance of gestures and colour planes make the scenes appear as psychological polygons of their own inserted pictorial language. Through the patterns the passionate handwritten assembly embraces the painted surface. It seems that our surrounding world is affected in visible layers according to the tactility, as well as to the diffusive aftermath. Such depiction for the eyes of others is often implied as the spatial realm and vanishing cloudy elements, a burst opposed to the worldly indifference.
Entanglement f making the painting may seem far from reality, but is moreover a life of a precious migratory track. Seems like the ancient upheaval, just like the Virgil made an epic poetry of the soul’s wanderings there is a painters adventure and travel within studio as a powered heart of humanity. It is a range of temptations of the earth and through forebodings of unnameable force seen in impulsive brush gestures or colourful zones of remembering.
Goran Rakic accomplishes adventurous painterly tasks as an escape where today it is more and more difficult to preserve both general and personal history.
This path is an exploration of the nature of the phenomenon of observation “through layered matter”, shifting the static essence as a consequence of the mental experience of memory.
Creativity could also be adjusted in time in a biological way. The ripening season of the 21st century encompasses a variety of crises and insecurities. Within the epidemic social indifference everything is taken for granted briefly as it instantly dissolves. Can we question what the making of one painting image, the surface inhabited by illusions and its pulsating parts? Is it a hidden meaning that invokes affective response? Likewise, reduced biological perceptibility and the contours of the remembered? The contradicting painted layers is imperative. Reflected is a colourful palette of phases and temptations of Goran Rakić’s painted compositions that capture attention with recognizable movements, but also with their indirect presentation.
The completion of the image finds its meaning and its contemporary plot in canceling the logic of social reputation and reducing it to a mere expression. This was common as a proof of the ‘paintings of the new sign’ inside emergence of a ‘new image’. Such dynamism of observations was created in the art of the 1980s, almost four decades ago, whan Rakic appeared on exhibitions circuit aimed to prove the reversal of creative freedom.
The color schemes, shapes and textures have a discretely excessive nature, and as such inhabit hybrid narratives of the intuitive imagination. They do contribute to the recognition of the repressed energy of the primordial, which, as a tradition that has captured us, brings us closer to the sublimation of mythical thinking.
The titles of the paintings “Morning in Mont Perrin”, “Memories”, “Oasis” - are indicators of inputs of energy of dedication in observing a paintings realm. Rakić’s attachment creates a visual atmosphere in front of the viewer with the distinctive light and material imagination. These scenes surpass the discovery, not only of the property of what is in the painting, but also of cherished events in which the elusive subject or themes from a personal title meet a mesmerizing affective definition.
The painter’s kaleidoscope of forms and experiences thus emerges as an alternative narrative of real life causes, as well as it’s consequences, given by his skillful power of confidence.
Nikola Šuica
Sve što ona želi / Everything she wants, kombinovana tehnika na platnu / combined technique on canvas, 200x140cm, 2022.
Izmaglica / Haze, kombinovana tehnika na platnu / combined technique on canvas, 100x100cm, 2022.
Izdavač / Editor:
Aleksić Galerija / Aleksic Gallery
Karađorđeva 26, Kragujevac
https://instagram.com/aleksic_galerija
Za izdavača / Authorised: Dejan Aleksić
Umetnicki savet galerije / Gallery art council: Goran Rakić, Nikola Šuica, Milica Zorić
Kustos / Currator of the exbition: Nikola Šuica, Dejan Aleksić
Prevod na engleski / Translation: Nikola Šuica, Vojislav Ćupurdija
Fotografije / Photography: Predrag Cile Mihajlović, Slavoljub Radojević
Dizajn / Design : Marko Prokić
Štampa / Printed by: Grafostil Kragujevac
Tiraž / Circulation: 500
Godina / Year: 2023.
