CONTEMPORARY CROATIAN WATERCOLOURAmongst the wide variety of trends and techniques present in contemporary art perhaps watercolour does not hold the highest place in terms of interest and events, since, as an artistically intimate technique they are mainly understood broadest sense, and do not contend well with the noise and aggression of trends and time. This has led to watercolour being marginalised as a technique. Precisely for this reason it is exceptionally encouraging that the Croatian Watercolour Triennial has been organised in Karlovac and Slavonski Brod, as a motivation and measure of achievements, with the intention of developing into a tradition, and is a point of orientation for all those for whom watercolour is their chosen medium, and for those who occasionally dabble. The significance of a festival of this kind was seen last year, in 1997, when the Croatian Watercolour Festival was organised by the agile Brešan studio. This year's invitation from Karlovac has already aroused significant interest. More than 350 artists have registered their work with the judges, who have selected a third of the total, defending their quality and variety, seeking to emphasise the value and breadth of the poetry that is so attractive to artists. Naturally, in the large quantity of works that have arrived there was a fair amount of Sunday artists, who paint as a hobby, whose enthusiasm and some degree of talent cannot be denied, but who most often, with some exceptions, at their very best achieved a good average level. Watercolour also has the reputation of being a technique of description and impression, and their figurative message is preserved to a greater or lesser extent, that is they are not "suitable " for artistic experiments. Objectively speaking they do have certain limitations, especially if one is seeking to preserve the purity of the technique, but it is however not a hindrance to the imagination and creative artistic ideas. Moreover watercolour has remained an oasis of artistic intimacy, finding inspiration in landscapes, flowers and panoramas. The paintings at this year's watercolour festival were a mixture of "old" and "new ", where this kind of distinction does not a priori mean a greater or lesser degree of immediacy nor quality. They could be seen in the relationship and achievement of each individual since capturing a landscape is just as fresh and modern as, for example, some form of intelligently executed artistic minimalism. In the same way a literally portrayed landscape can be just as tiresome or forced as a talentless attempt at creating the unconventional. Moreover watercolour demands a particular kind of sensitivity for the transparency of forms, for a gentle touch in composition linking all the component parts which is somewhat different from that required in more "solid " techniques. In other words, even some great masters of the paintbrush do not have a feel for watercolour, and their achievements in this medium are not worthy of their work overall. great extent. Josip Alebić in a collision of lines creates a head, as Zlatko Keser does a face, making use of expressionist deformations and a form of automatism in the movement of his hand. Josip äimić carefully creates his bagpipe player making skilful use of the manner of artists of the past. Ivan Antolčić builds his figures with the charm of childlike wonder, which in the works by Ljerka Njerš and Zlatko Čular female nudes give a hint of eroticism. Figurative scenes are an opportunity for the imagination, as in the piece by eeljko Prstec with angels playing and singing in a work full of folklore and spirituality. In works by Antun Boris Švaljek this is given a very mild sardonic edge. Karina Sladović intrigues us with her complex many layered story, finding justification for it both in the way she develops it artistically and in its artistic depth, the same story which Petar Jakelić recalls in the layers of time, preserving the authenticity of life. It is written in the buildings whose facades are shown by Jagor Bučan or Dario Orioli with measured use of colour and hints of details, and for whom a wall is no barrier to artistic openness. Daniel Žabčić uses an unusual background, cloth, to show architecture with a hint of a fairy tale world. It is of course possible to bring these artists together in informal groups by looking for thematic or stylistic similarities, although what we have is individualism, such as in the case of Renata Chalupa Prvan who has brought out her "heavenly drawing" by using threads. A mesh of staves showing the potential of watercolour, divided by colour, a surface where figures and undergrowth radiate light are characteristics of the work of Nada Žiljak. Francina Dolenec in the lyrical atmosphere of her interiors creates a situation with a hint of the beauty of greatness. Even where there is no subject there can be artistic excitement in the refined forms of Mirta Diminić or the splash of colour by Vesna Pavlaković or the release (luxuriance) of blues by Jadranka Mlinar, or the spirals of Boris Demur. The abstract forms of free and relatively unpredictable shapes are in contrast to the exact geometry of "The Gable and the Bridge " by Vinko Fišter, or the strict sculptured structured surfaces of Zoran Kakša. The structures by Anton Vrlić are akin to informal specks, which also form the basis of work by Slaven Macolić. By seeking and finding a rhythmic relationship by means of repeating signs on the tension of the surface, Zdravko Rajković has created a unique piece of work, where with a well arranged screen, light creates the dynamism. Zlatan Kovač tends to order as a concept using the indentedness of Glagolitic letters. Ljubomir Perčinlić too creates wealth with the artistic discretion of geometric and achromatic lines. Mejra Mujičić also finds richness in a minimum of means and using special paper structures. We may continue our tour of differences with Dražen Trogrlić and his dialogue of signs (which approach the symbolic). Some unreal location is hinted at by Dino Trtovac with a touch of brightness in his creatiöns. Lyrical abstraction contrasts with pulsating energy in work by Dalibor Jelavić and the expressiveness Nenad Opačić. A figuration which finds its opposite pole drawing close to the metaphysical by Ratko Janjić Jobo or the melancholic and unsurpassed still life of Ivan Lovrenčić, which the artist so warmly calls "quiet life ". Kristina Rismondo and Gordana Macolić Kovačić are preoccupied with the passing and integration of time, inspired by works of classical modern art. The former turned to Kandinsky and the latter to Duchamp, giving their own point of view. Any notes on some participants at the first Croatian Watercolour Triennial have no intention of giving precise artistic judgement, for after all one or two pieces are not sufficient for a thorough analysis of an individual's work. No more will we pass judgement of one joint exhibition but we seek to point out the range of expression, from a traditional core, landscapes, expressive figuration, strict geometry, abstract lyrical signs, the development of motifs of a variety of directions, to the presence of artists who could be termed free spirits. This means a wealth of artistic languages which the contemporary artist can speak, to demonstrate his creative desire. Mentioning just a few of them (to give all their names would make this article sound like a telephone directory) is intended to point out the major trends which characterise this artistic event. It is also clear that this is the first in a series of triennial events in honour of Croatian watercolour, and has tested their potential and opened the unclear paths which this artistic technique is to take in the future. By then we will be seeing the second, the third ..... Croatian Watercolour Triennial. Stanko Špoljarić |