Ana Ratković Sobota Trag boje / Trace of Colour
7.3. 7.4. 2024.
Sara Mikelić
Šetajući uz Ganges, na ghatovima Varanasija promatram kako se suši odjeća pitajući se u kojoj je mjeri ovdje u Indiji, zemlji vodećoj po proizvodnji i izvozu prirodnih bojila, tkanina i dalje bojana pretežito ekološki prihvatljivim tehnikama? Nakon otkrića sintetičkih boja sredinom 19. stoljeća, prirodna bojila većinom su zaboravljena i napuštena kao dio arhaičnih kulturoloških praksi. Trenutno se bojila iz prirodnih izvora većinom koriste za bojanje hrane, iako postoji potreba da se u tekstilnoj industriji sintetičke boje zamjene alternativnim rješenjima.
Umjetnica Ana Ratković Sobota smiono traži takve solucije unutar medija slikarstva pri čemu eksperimentalni proces postaje ključan aspekt rada. Umjesto pamuka ili žutice, ovoga puta slikarsko platno postaje svila, čije su joj karakteristike, poput sposobnosti intenzivnog upijanja boje, čvrstoće i elasticiteta, priskrbile naziv kraljice tekstila. Autorica se, nakon radova u indonezijskoj batik tehnici, ponovno udubljuje u nove načine aplikacije boja na tekstil, pri čemu krajnji rezultat prepušta raznim vanjskim faktorima. Za razliku od prethodno korištene tehnike batika, u ovom ciklusu umjetnica koristi isključivo prirodna bojila. Ona su netoksična, većinom hipoalergena, te minimalno zagađuju okoliš koristeći materijale iz prirodnih izvora što ujedno čini ostatke proizvodnog procesa biorazgradivima. Prije i tijekom nanošenja prirodnih boja, svila iziskuje specifičan način pripreme: alaun se koristi za adekvatnu fiksaciju i močenje pigmenata, ocat za dodatnu fiksaciju, dok se uz pomoć limunske kiseline ili natrijevog karbonata modificiraju pigmenti. Zatim se
Walking along the Ganges, on the ghats of Varanasi, I observe clothes dry, wondering to what extent here in India, the leading country in the production and export of natural dyes, fabric is still dyed predominantly using eco-friendly techniques? After the discovery of synthetic dyes in the mid-19th century, natural dyes were largely forgotten and abandoned as part of archaic cultural practices. Currently, natural dyes are mostly used for colouring food, despite the pressing need to replace synthetic dyes with alternative solutions in the textile industry.
Artist Ana Ratković Sobota fearlessly explores such solutions within the medium of painting, where the experimental process becomes a crucial aspect of her work. Instead of using cotton or ecru, this time the painting canvas becomes silk, a textile hailed as the queen of textiles for its ability to intensely absorb color, strength, and elasticity. After working with the Indonesian batik technique, the artist now explores new methods of applying dyes to textiles, allowing the final result to be influenced by various external factors. Unlike the previously used batik technique, in this series, the artist exclusively uses natural dyes. These dyes are non-toxic, mostly hypoallergenic, and minimally polluting the environment by using materials from natural sources, making the remnants of the production process biodegradable. Before and during the application of natural dyes, silk requires a specific method of preparation: alum is used for adequate fixation and wetting of pigments, vinegar for additional fixation, while citric acid or sodium carbonate is used to modify pigments. The fabric is then wrapped and steamed for an hour to allow
tkanina zavije i kuha na pari sat vremena kako bi svilena podloga upila boju. Većina prirodnih boja za tekstil ekstrahira se od minerala, insekata te biljaka, često od korijena, plodova, kore i listova. Crvena boja na tekstilu može se dobiti od mnogih biljaka, ali među njima se ističu broć (Rubia tinctorum), Manjistha ili indijski broć (Rubia cordifolia). Osim indijskog broća i indigovke, Ana nastoji koristiti isključivo sorte biljaka lokalnog podneblja, pa za dobivanje žutih i narančastih nijansi koristi neven, za boju crnog vina prah kore hibiskusa, za rozu koru breze, a za ljubičastu prah aronije. Iako je većina procesa prepuštena rezultatima koje nije moguće u potpunosti kontrolirati, u ponekim slučajevima autorica nastoji utjecati na gradaciju boje, te biljkama oslikava reducirane motive arhetipskog simbolizma. Spirale, krugovi i simbol poznat kao vesica pisces motivi su, često sakralnog značenja, korišteni od vremena spiljskog slikarstva do danas, noseći značajnu simboliku stvaranja i neprestanog kretanja energetskih tokova. Upravo se proučavanjem energetskih svojstava pojedinih oblika bavi disciplina biogeometrije koju je razvio i patentirao dr. Ibrahim F. Karim u Kairu u Egiptu tijekom istraživanja započetog 1968. godine. Biogeometrijom se nastoji istražiti utjecaj specifičnih simbola na kvalitativno balansiranje bioloških energetskih sustava i usklađivanje njihovih interakcija s okolišem.
Prikazi pejzaža Anina su dugotrajna inspiracija koja se proteže cijelim stvaralačkim opusom, no u ovom ciklusu ostaje jedino potpuno reducirana verzija “energetskih pejzaža”, sabijena energija prirode ukroćena unutar univerzalnih simbola. Umjesto prikaza pejzaža, rad postaje njegova
the silk base to absorb the dye. Most natural textile dyes are extracted from minerals, insects, and plants, often from roots, fruits, bark, and leaves. Red colour on textiles can be obtained from various plants, with rose madder (Rubia tinctorum) and Manjistha or Indian madder (Rubia cordifolia) standing out among them. In addition to Indian madder and indigo, Ana seeks to use exclusively varieties of plants from the local environment. Therefore, she uses marigold to obtain yellow and orange shades, hibiscus bark powder for the colour of black wine, birch bark for pink, and chokeberry powder for purple. Although most of the processes are left to results that cannot be fully controlled, in some cases, the artist attempts to influence the colour gradient and uses plants to paint reduced motifs of archetypal symbolism. Spirals, circles, and the symbol known as vesica pisces, often carrying sacred meanings, have been used from the time of cave paintings to the present day, representing significant symbolism of creation and the continuous flow of energy. The study of the energetic properties of individual shapes is precisely the focus of the discipline of biogeometry, developed and patented by Dr. Ibrahim F. Karim in Cairo, Egypt, during research initiated in 1968. Biogeometry seeks to explore the impact of specific symbols on qualitatively balancing biological energy systems and harmonising their interactions with the environment.
Ana’s depictions of landscapes have been a lasting inspiration throughout her entire creative body of work. However, in this cycle, only a completely reduced version of “energy landscapes” remains – compressed energy of
simbolička esencija ili svojevrsni reflektivni otisak, izvan okvira racionalnih objašnjenja.
Studijskim putovanjem u Yogyakartu na Javi Ana Ratković Sobota namjerava nastaviti proučavanje autohtonih indonezijskih tehnika te produbiti svoje razumijevanje aplikacije i fiksacije prirodnih boja na tekstil. Prikupljena znanja će zatim usmjeriti na primjenu s lokalnim prirodnim materijalima, unoseći pritom elemente indonezijske kulturne tradicije. Izlazeći iz same likovnosti, isčezli, reducirani pejzaži također upućuju na urgentnu potrebu prelaska na održivije načine života usmjerenog na smanjenje devastirajuće upotrebe prirodnih resursa. Uravnotežavanje svakodnevnih aktivnosti, postizanje skladnosti s unutarnjim i vanjskim okruženjem te povezivanje fizičke okoline i duhovnosti, prošireni su, te vjerojatno najdragocjeniji aspekti rada umjetnice koja odvažno kroči kroz istraživačke procese.
nature tamed within universal symbols. Instead of depicting the landscape, the artwork becomes its symbolic essence or a kind of reflective imprint, transcending rational explanations.
With a study trip to Yogyakarta in Java, Ana Ratković Sobota intends to continue her exploration of indigenous Indonesian techniques and deepen her understanding of the application and fixation of natural dyes on textiles. The acquired knowledge will then be directed towards the application using local natural materials, incorporating elements of Indonesian cultural tradition. Beyond the realm of visual art, the vanished, reduced landscapes also point to the urgent need to transition to more sustainable ways of living, focused on reducing the destructive use of natural resources. Balancing daily activities, achieving harmony with internal and external environments, and connecting the physical surroundings with spirituality are expanded, and likely the most precious aspects of the artist’s work who boldly navigates through exploratory processes.
Cvijet plavog graha, kora šipka, indijski broć / Butterfly pea flower indian madder and pomegranate bark, 2024.
cvijet plavog graha, kora šipka, indijski broć na svili / butterfly pea flower, indian madder and pomegranate bark on silk
70 x 40 cm
Prah aronije i šipak / Aronia powder and pomegranate bark, 2023
prah aronije i šipak na svili / aronia powder and pomegranate bark on silk
70 x 40 cm
Indijski broć, kora šipka i prah aronije / Indian madder, aronia powder and pomegranate bark, 2024. indijski broć, kora šipka i prah aronije na svili / indian madder, aronia powder and pomegranate bark on silk 70 x 40 cm
Indijski broć, kora šipka prah aronije / Indian madder, aronia powder and pomegranate bark, 2024. indijski broć, kora šipka i prah aronije na svili / Indian madder, aronia powder and pomegranate bark on silk 135 x 90 cm
Ana Ratković Sobota rođena je 1988. u Zagrebu. Diplomirala je na Nastavničkom odsjeku ALU u Zagrebu. Izlagala je na brojnim samostalnim i skupnim izložbama u zemlji i inozemstvu. Izdvajaju se samostalne izložbe u Studiju Moderne galerije Josip Račić (2022.), Laubi (2018.) te samostalna izložba u Tokamachiju u Japanu (2018.). Od skupnih izložbi izdvajaju se žirirana izložba Kako gledati prirode?Umjetnost I kapitalocen u HDLU, Zagreb (2023.), i skupna žirirana izložba u CSO Ada Ankara u Turskoj (2023.). Oslikala je zatvoreni odjel Ženske kaznionice u Požegi u suradnji sa zatvorenicama, Zatvor u Karlovcu i Odjel za transport pacijenata hitne pomoći KBC Rebro. Godine 2019. sudjelovala je na rezidenciji DeKonstrukcija slike u Leipzigu. Godine 2024. sudjelovat će na realizaciji vlastitog istraživačko-edukacijskog projekta u Yogyakarti u Indoneziji. Cilj projekta je naučiti koristiti u potpunosti prirodne boje i pigmente pri izradi radova u tradicionalnoj tehnici batika, i time stvarati ekološki prihvatljive radove. Sudjelovala je u stvaranju knjige Mapiranje prostranstva prirode (2021.), a upravo priprema umjetničku knjigu Jezera. Ratković Sobota članica je HZSU-a. Živi i radi kao samostalna umjetnica i likovna edukatorica u Zagrebu.
Ana Ratković Sobota was born in 1988 in Zagreb. She graduated from the Teaching Department of the Academy of Fine Arts in Zagreb in 2013. She has exhibited in numerous solo and group exhibitions both in the country and abroad. Notable solo exhibitions include those at the Josip Račić Studio of the Modern Gallery (2022), Lauba (2018), and a solo exhibition at Tokamachi in Japan (2018). Her participation in group exhibitions includes a juried exhibition How to Look at Natures? - Art and the Capitalocene at the Croatian Association of Fine Artists (HDLU) in Zagreb (2023) and a juried group exhibition at CSO Ada Ankara in Turkey (2023). She painted murals at the closed ward of the Women’s Penitentiary in Požega in collaboration with the inmates, at the Prison in Karlovac, as well as at the Department for ER Patients Transport at Rebro University Hospital. In 2019, she participated in the De/Construction of the Image residency in Leipzig. In 2024, she will take part in the implementation of her own research and educational project in Yogyakarta, Indonesia. The project’s objective is to teach the use of completely natural dyes and pigments in creating works using the traditional batik technique, thereby producing environmentally friendly artwork. She participated in the creation of the book Mapping: Nature Spaces (2021) and is currently preparing an art book titled Lakes. Ratković Sobota is a member of the Croatian Freelance Artists’ Association (HZSU). She lives and works as an independent artist and art educator in Zagreb.
Ana Ratković Sobota | Trag boje / Trace of Colour 07.03. 07.04.2024. Galerija Prsten / Prsten Gallery
Hrvatsko društvo likovnih umjetnika / Croatian Association of Fine Artists Galerija Prsten / Prsten Gallery Trg žrtava fašizma 16, 10000 Zagreb, www.hdlu.hr
IMPRESUM | Nakladnik/Publisher: Hrvatsko društvo likovnih umjetnika/Croatian Association of Fine Artists, Trg žrtava fašizma 16, 10 000 Zagreb, hdlu@hdlu.hr, www.hdlu.hr, | Za nakladnika/For the publisher: Tomislav Buntak | Upravni odbor HDLU/Executive board of HDLU: Tomislav Buntak (predsjednik/president), Josip Zanki (dopredsjednik/vicepresident), Ida Blažičko (dopredsjednica/vicepresident), Fedor Fischer, Vida Meić, Romana Nikolić, Tomislav Hršak | Umjetnički savjet Galerije Prsten / Artistic board of Prsten Gallery: Mia Akrap, Branka Benčić, Tomislav Buntak, Ivan Fijolić, Vida Meić, Leila Topić, Josip Zanki | Ravnateljica/Director: Ivana Andabaka (HDLU) | Voditeljica galerije/Gallery coordinator: Martina Miholić | Predgovori/Prefaces: Sara Mikelić | Prijevod/translation: Antonia Došen | Design: Duje Medić | Tisak/Printed by Kerschoffset | Naklada/Copies: 250
