Iz magistarskog rada: Petar Radlović
Boja – za mene predstavlja najintimniji izraz. Ona je lična i otkriva moje raspoloženje u toku slikanja. Inspirisana je prirodom, odnosno mojim sećanjem na prirodu i prirodne pojave (kišu, sneg, zalazak sunca…). Međutim, nije mi cilj da kopiram ili podražavam prirodu, već da je doživim na intuitivan način.
Pejzaži – daju metafizičku atmosferu. Ako metafizički kanon shvatimo kao nedostatak jednog dela u celini neke informacije, onda bi taj nedostatak u mojim pejzažima bilo odsustvo bilo kakve narativnosti, kao i odsustvo prisustva čoveka. To su ogoljeni gradovi, šume, reke… Elementi su specifično komponovani jukstapozicijom, stvarajući horizontalnu liniju koja opisuje beskonačnu dubinu prostora, a sve u cilju da izraze emociju usamljenosti.
Portreti – ljudsko lice uvek nešto govori; ono ne može da sakrije misli, jer ga mimika uvek odaje, čak i kada spava. Tako doživljavam portrete. Zapravo, beležim samo deliće sekunde u moru mimika i osećanja koje lice nosi. Ta emocija — radost, tuga, zavist… — za mene je od primarnog značaja i neretko, da bi se ona izrazila, anatomska sličnost sa modelom mora da trpi.
Rezime – trudio sam se da stvorim slike kao zatvorene celine, mikrokosmose, u kojima svaka pojedinačno priča svoju priču. Koloristički, potpuno intimne, treba da ostave utisak prelaska dana u noć. Taj period dana — zalazak sunca, nokturno — ostaje moja večita inspiracija, trenutak kada su moje emocije najizraženije. Za razliku od Dalija, koji se u većoj meri bavio metamorfozom forme i oblika, mene ona inspiriše više kao simbol odnosa između čoveka i prirode, dana i noći. Slike su uglavnom inspirisane realnim ljudima i događajima koje sam pokušao da smestim u magičnu atmosferu ličnog slikarstva.
From the Master of Arts Thesis: Petar Radlović
Color – for me, it represents the most intimate form of expression. It is personal and reveals my state of mind during the process of painting. It is inspired by nature, that is, by my memories of nature and natural phenomena (rain, snow, sunset…). However, my intention is not to copy or imitate nature, but to experience it intuitively.
Landscapes – create a metaphysical atmosphere. If we assume that the metaphysical canon implies the absence of one part within the totality of information, then in my landscapes this absence is manifested as a lack of narrative and the absence of human presence. These are bare cities, forests, rivers… elements specifically composed through juxtaposition, forming a horizontal line that describes the endless depth of space. The aim is to express a sense of loneliness.
Portraits – the human face always expresses something; it cannot hide thoughts. It is constantly revealed through facial expression and emotion, even when asleep. This is how I experience portraits. In fact, I record only a fragment of a second within a multitude of expressions and feelings that define a face. That emotion—joy, sadness, envy—is of primary importance to me, and often, in order to express it, strict anatomical resemblance to the model must be sacrificed.
Summary – I have sought to create paintings as closed wholes—microcosms—in which each work tells its own story. Completely intimate in color, they are meant to leave the impression of a transition from day to night. That time of day—sunset, nocturne—remains my enduring inspiration, the moment when my emotions are at their most intense. Unlike Salvador Dalí, who was primarily concerned with the metamorphosis of form and shape, I am inspired by it more as a symbol of the relationship between man and nature, day and night. The paintings are mostly inspired by real people and events, which I have attempted to place within the magical atmosphere of personal painting.
