[MMML intervju // interview] * MARIO KOLARIĆ

*scrool down for English

MMML Studio_Mario Kolaric (3 of 4)-2

Intervju vodila / interview by Jelena Cindrić

Mario Kolarić, rođeni ste u Beogradu, odrasli u Osijeku gdje ste završili Školu za tekstil dizajn i primijenjene umjetnosti, te nakon toga upisali Akademiju likovnih umjetnosti u Zagrebu na kojoj ste stekli zvanje Magistra grafike i slikarstva. Objasnite nam malo put vašeg obrazovanja i kako je odredio stil, koji dominira u vašim djelima.
Mislim da sam u velikoj mjeri imao sreće s obrazovanjem, jer sam na obje institucije imao par sjajnih profesora koji su mi otvarali uvijek nove pogleda na ono što umjetnost može biti. U srednjoj školi sam imao sreću da učim od dva sjajna crtača, Marka Živkovića i Domagoja Sušca. Zahvaljujući tom iskustvu stvorio sam veliku ljubav prema samom crtežu koji i danas prevladava u mom radu. Poslije, na Akademiji, pošlo mi je za rukom da na zadnje dvije godine promijenim odsjek i dođem u klasu Zlatka Kesera gdje sam imao prilike iživiti razne hirove i isprobati veliki spektar stilova. Pored toga, imao sam sreću studirati u vrijeme kada su predavali Marcel Bačić i Ivan Ladislav Galeta. Išao sam na sve vrste predavanja i izbornih predmeta koje su oni držali, a često bi se vraćao na njih i nakon diplome samo kako bi prisustvovao toj atmosferi i probao uloviti po još koju interesantnu misao od njih.
Bavite se pretežno crtežima, ilustracijama, street artom, site-specific instalacijama i objektima, gdje kao što i sami navodite ”gradite apstraktni narativ preko jednostavnih likovnih elemenata”. Objasnite nam neke formalne razlike ako postoje u pojedinim područjima, jer sam primijetila da Vam se crteži podosta ističu u svom minimalističkom pristupu.
Moja svakodnevna praksa je crtež. Često je proces rada poprilično spor, gotovo monoton, tako da to vrijeme koristim i za promišljanje o nekim prostornim radovima. Ono čemu primarno težim je zvuk a trudim se da kroz rad predstavim određenu vibrantnost ili ton koji on posjeduje. S druge strane, instalacije koje sam do sada radio ne bi stavio u kategoriju minimalnog. One su većinom posljedica rada na samoj lokaciji, s nađenim materijalima, iako bi mi cilj i dalje bio postići neki specifičan zvuk kojim rad ispuni sobu. Do sada nisam imao puno prilika da radim takve instalacije tako da su neke nove u planu koje bi mogle imati veću poveznicu s crtežima. Objekti koje sam do sada pravio često su blic ideje koje mi padaju na pamet tijekom crtanja. Gledam na njih često kao na pauzu od samog crtanja.

MMML Studio_Mario Kolaric (1 of 8)

Primarno se bavite crtežom koji je jednostavan i minimalan, a glavni mu je element sama linija. Linijama formirate različite oblike koji su apstraktni, postoji li neka tema ili pak ideja koju razrađujete i istražujete kroz svoje crteže? Možete li objasniti proces nastanka vaših radova te što je najvažnije u njihovu nastanku?
U biti linija je tu samo gradivni element. Cilj je često dobiti zvuk koji bi reflektirao sam zvuk papira. Papir me već dugo prati u radu i često krećem od ideje da iz njega izvučem na površinu određenu vibraciju koju u njemu vidim. Prije nekoliko godina to sam radio pomoću točke, sada je tu linija. Ono što me u toj priči također zanima je ritam, pa tako nekada crtež nastaje iz određene repeticije ili mreže koju ispisujem.
Što se tiče samih utjecaja i inspiracija, postoje li, koji su i kako oni određuju tok nastanka vaših radova?
Što se umjetnika tiče to su Sol LeWitt, Gordon Matta-Clark, Francis Alys… Uživam u starim enciklopedijskim ilustracijama, pričama od Borgesa, fotografijama univerzuma, dobro osvijetljenim prostorima, japanskim drvorezima i starim alkemijskim ilustracijama.
Kao što i sami navodite, ”inspiracija je ta koja nastaje iz procesa crtanja linijama”, u tom smislu sam čin crtanja Vas odvodi do krajnjeg rješenja odnosno nastanka djela. Prakticirate li to uvijek?
Ne nužno. Prije sam puno više crtao tako što bi krenuo od jedne linije i nastavljao je dalje pratiti. Trenutno više razmišljam o samo površini papira i tome gdje me ona može odvesti. Ipak, i dalje je to vrlo spor proces gdje izvlačeći liniju po linije dolazim do nekih novih ideja i skica. To prostor/vrijeme koje si stvaram iz linije u liniju je zapravo moj prostor za razmišljanje, pa samim time i novi radovi nastaju često između dvije linije.
Objasnite malo vaš odnos prema papiru i tome da ga percipirate ne samo kao površinu već i kao objekt, u koji kao što i sami navodite ”možete ući, a ne samo ostati na površini”.
Kao što sam spomenuo, papir me dugo prati. Iako sam studirao na slikarskoj klasi, uvijek sam crtao puno više nego slikao. Uživam u listanju papira, rezanju papira, presavijanju, kidanju. Gledam ga kao objekt u smislu da on nije samo ploha na kojoj crtež nastaje već elementarni dio samog crteža. U nekim radovima kretao bi prvo od toga da napravim svoj papir pa tek onda po njemu intervenirao. Kao neki mikro-makro momenat, u kojem nekad crtajući po papiru težim da utisnem u njega neki zapis i tako uđem u njegovu površinu a nekad gradeći tu površinu i gledajući što će iz nje isplivati.
Na koji Vam način takav odmak od klasičnog poimanja papira kao crtačke podloge omogućava razvoj novih ideja?
Ono što mi primarno daje je odmak od samog crteža na kakav sam navikao sjedeći pogrbljen za stolom i crtajući. Otvorilo me je prema tome da krenem više promišljati o samom prostoru i time dobiti jedan komplementaran odnos između same prakse crtanja i rada na instalacijama.
U svojim radovima osim linije, koristite i boje. Po kojem principu odabirete one koje će biti zastupljene na određenom radu? Imaju li te boje određeno značenje ili su neka vrsta studije emocija, kontrasta, međusobnih odnosa ili pak nešto drugo?
U startu većinom krećem od nekog osjećaja. S vremenom vidim da se neke boje češće javljaju nego druge. Kao mnogi grafičari, često krećem od crne iako u zadnje vrijeme puno češće koristim osnovne boje. Kako težim tom nekom zvuku, boja je tu da ga pokuša dodatno pojačati. Hoće li to biti plava ili crvena ili zelena često pak ovisi o trenutku. Moguće i da neka emocija tu igra ulogu no uvijek je to posljedica trenutka tako da nema nekog pravila.
Kontrolirate li proces izrade ili se prepuštate da vas linije same odvedu do pojedine forme?
Prije sam puno više puštao stvar slučaju. Danas većinom imam jasnu ideju kako želim postaviti neke stvari, no kako je proces dug i minuciozan, često koristim greške kao trenutne u kojim mijenjam ideju u nekoj mjeri. Trudim se da se ne opterećujem previše hoće li rad biti sprovedem striktno po planu ili ne. Ponekada se rad i ošteti pa i to pokušavam iskoristiti u smislu da ga onda uzimam kao polaznu točku za neki drugi rad.
Postoji li određena poruka koju šaljete promatračima? I kakav je vaš odnos i komunikacija s promatračima posredstvom vaših radova?
Ako ima neka poruka to bi možda bila – tišina. Pokušavam da rad osvoji svoj neki prostor unutar kojeg promatrač može “na miru”. Mislim da u takvim uvjetima , on koristi rad koji promatra kao svojevrsno ogledalo i potencijalno saznaje nešto novo.
Objasnite nam malo vašu primjenu crteža kroz site-specific instalacije i objekte.
Kao što sam spomenuo, crtež je osnova u smislu da često ideja dolazi tijekom samog crtanja. To nužno ne mora biti skica za instalaciju ili objekt. Više je crtež neki oblik stimulacije uma da se pokrene i otkrije nešto novo. Možda bi s više instalacija došao i do toga da počnem crtež pretakati u prostor no za sada to nije bio slučaj. Na papiru imam nekoliko takvih ideja no one i dalje traže odgovarajući prostor za realizaciju.

MMML Studio_Mario Kolaric (1 of 1)

Mario Kolarić, you were born in Belgrade and grew up in Osijek, where you graduated from the School of Art and Design, after which you enrolled in the Academy of Fine Arts in Zagreb, where you gained the title of Master of Graphic Arts and Painting. Explain the course of your education to us a bit, and how it determined the style that dominates your work.
I believe that I was very lucky in my education because I had a couple of excellent professors at both institutions, who opened new outlooks for me on what art can be. In high school I was lucky to be able to learn from two excellent drawing artists, Marko Živković and Domagoj Sušac. Thanks to that experience I have developed a great love for drawing as such, which is still a predominant part of my work. After that, at the Academy, I managed to switch departments during my last two years there and enter the class of Zlatko Keser, where I had the opportunity to live out various whims of mine, and try out a wide spectrum of styles. Besides that, I was lucky to study at the time when Marcel Bačić and Ivan Ladislav Galeta lectured there. I attended all types of lectures and elective courses they taught, and I would often return to them even after I had graduated so as to be a part of that atmosphere, and try to catch some more interesting ideas from them.

MMML Studio_Mario Kolaric (25 of 26)
You mostly work with drawings, illustrations, street art, site-specific installations and objects where, as you yourself put it, you “build an abstract narrative through simple visual art elements.” Explain some of the formal differences in particular fields, if there are any, to us, because I have noticed that your drawings stand out to a great extent in their minimalist approach.
Drawing constitutes my day-to-day practice. The work process is often quite slow, almost monotone, so I use that time to think about particular spatial works. The thing I am primarily drawn towards is sound, and through my work I try to present a certain vibrancy or tone that it possesses. On the other hand, I would not put the installations I have made so far in the minimalistic category. They are in most part the consequence of working at the location itself, using found materials, although my goal would still be to achieve a specific sound with which the work would fill the room. Until now I have not had many opportunities to make such installations so some new ones are planned, which could have a stronger connection to drawing. The objects I have created so far were often flash ideas that come to my mind while drawing. I often perceive them as taking a pause from drawing.
You primarily deal with drawing which is simple and minimal, with the line itself as its main element. You form various abstract shapes using lines, so is there a theme or an idea that you work out and explore through your drawings? Could you explain the process of creating your works, and what the most important aspect of their creation would be?
In its essence, the line is merely a construction element. The goal is often to get a sound which would reflect the sound of paper. Paper has been following me in my work for a long time now, and I often start with the idea to pull the vibration I see in it to the surface. A few years ago I did that using dots, and now it is the line. The thing I am also interested in in the whole story is rhythm, so a drawing is sometimes created from a particular repetition or a network that I draw out.

MMML Studio_Mario Kolaric 1

As far as influences and inspiration are concerned, are there any, what are they, and how do they determine the course of creation of your works?
As for the artists, they are Sol LeWitt, Gordon Matta-Clark, Francis Alys… I enjoy looking at old encyclopaedia illustrations, Bourges’ tales, photographs of the universe, well-lit spaces, Japanese woodcuts, and old alchemical illustrations.
As you stated yourself, “inspiration is the thing that is created from the process of drawing lines,” in that sense the act of drawing itself leads you towards the final solution, i.e. the creation of a work. Do you always do that?
Not necessarily. In the past I used to draw much more by starting with one line and continued by following it. At the moment I am thinking much more about the surface of the paper itself and where it can lead me. Nevertheless, it still constitutes a very slow process where I come to some new ideas and sketches by drawing out line after line. That space/time I create through drawing out line after line is, in fact, my thinking space, and consequently new works are often created between two lines.
Could you explain a bit you relationship with paper, and the fact that you perceive it not only as a surface but as an object which, as you yourself put it, “you can enter, and not only stay on the surface.”
As I have mentioned, paper has been following me for a long time now. Although I have studied in a class of painters, I have always drawn much more than I have painted. I enjoy flipping through paper, cutting paper, folding it, and tearing. I perceive it as an object in a sense that it does not only constitute a surface on which a drawing is created, but an elementary part of the drawing itself. In some works I would start by making my own paper first, and only after that would I intervene on it. It is a kind of a micro-macro moment, whereas I at times, while drawing on the paper, tend to imprint on it a certain record so as to enter its surface, and sometimes by building that surface and looking for something which would emerge out of it.
In what way does such a distance from the classical notions of paper as a surface to be drawn upon enable the development of new ideas?
The thing it primarily gives me is the distance from the drawing itself that I have gotten used to through sitting hunched over a desk, drawing. It had opened me towards thinking more about space itself, and thus achieving a complementary relationship between the drawing practice itself and working on installations.
In addition to the line, you also use colours in your works. According to what principle do you select the ones you would use in a particular work? Do these colours have a particular meaning, or do they represent a sort of a study on emotions, contrasts, mutual relationships, or something else entirely?
From the very start I mostly begin with a certain emotion. As time passes I notice that some colours appear more often than others. As many graphic artists, I often begin with black, although lately I have been using basic colours much more often. As I am drawn towards some kind of sound, the colour is present as an attempt to further emphasise this notion. Whether it is the colour blue, red, or green often depends on the moment. It is possible that a particular emotion plays a part here, but it always appears as a consequence of a moment, so there really is no rule.
Do you control the creative process or do you let the lines themselves lead you to a particular form?
I used to let things happen on their own to a much greater extent. Nowadays, I mostly have a clear idea on how I wish to set some things, but as the process is a long and meticulous one, I often use mistakes as moments to change my idea to a certain extent. I try not to burden myself too much with whether the work will be executed strictly according to plan or not. At times the work gets damaged, so I try to utilize that as well in the sense that I take it as a starting point for some other work.
Is there a particular message that you convey to your viewers? What is your relationship and communication with the viewers through your work?
If there is a certain message it could be – silence. I attempt to make the work capture a particular space within which the viewer can be “at peace.” I think that in such conditions they can use the work they are looking at as a mirror of sorts, and potentially find out something new.
Could you explain your application of the drawing through site-specific installations and objects?
As I have already mentioned, the drawing constitutes a foundation in the sense that the idea often comes after the drawing process itself. The drawing is more of a form of stimulating the mind into action to discover something new. Maybe through more installations I would start translating drawing into space, but this has not been the case so far. I have several such ideas on paper, but they are still looking for an adequate space to be realized.

 

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