Marin Dražancic, photo exhibition catalogue by ULUPUH

12. 1. 2016. —— 29. 1. Marin Dražančić —— Šetnja od grada do duše i natrag / A stroll from the city to the soul and back izložba fotografija / photo-exhibition

INTRODUCTION

— In this exhibition of Marin Dražančić the starting point is the basic tenets of photography as a recording of images with the aid of light and presents a cycle in which he examines the proportion of light in black and white (graphical) notation. A stroll through the city becomes the framework context for questioning, disclosure, and the anesthetisation and poetic transformation of the phenomenon of light. A series of simple situation (in relation to the motive) creates a fine amalgamation of combinations and variations of artistic structures combined in exciting and suggestive relationships. Sharpness and blurring play an equal part in the creation of finely balanced compositions as do methods for cancelling one motive through another. The author animates light or highlights a series of smaller openings through shading, movement or obstacles, thereby creating an atmosphere in which light is the master of the entire photo-image. In applying interchangeable rhythms the author invokes an entire range (of suggested) feelings in the viewer: from feelings of transience, alienation and the absence of all communication, to nostalgia felt on parting, upon loss and a nostalgic desire on awakening to (new, perhaps different) days. Aside from the artistic composition of the image that metaphorically transmits the author's high sensitivity, the correlation of light creates a specific dramatic impact. The tension grows in collision with the assumed (anticipated) liveliness of citizens and their ultimate absence or minimalisation. The abandoned space in contrast to the barely discernible distant architectural glamour are set in opposition alongside the benumbed sleepy citizens, who are nowhere to be seen and so giving rise to anxiety. The play of light, in the sky and the delineated spaces, of artificial light and reflections convey the experience of dawn. The extensively reduced colours in the light that disperses the darkness of the night, identical to (dreamlike) sleep, are a reflection of the conscious state of the (individual) soul. Depending on the extent to which one is willingly open to minimalist forms and allows oneself to be carried away by them, or just intellectually recognises them as a suggestive form, the fact remains that these photographs by Marin Dražančić are poetic (metaphysical) in nature. Marin Dražančić /

Only a few of the photographs are in colour, in order to imply the advent of dawn, which gradually brings colour to reality at daybreak. The awakening of colour, occurring at the same time as the arrival of day, also marks the gentle stirring of people, which the author depicts. Pink and light blue, greenish and yellowish hues are capable of turning the simplest of motives into something valuable, solemn and romantic. We are witness to the beauty offered and the natural innocence of the birth of the new (day). Everything in these photographs is ambiguous. The dramaturgy of this photo stroll encompasses all layers of the underlying symbolism and suggestiveness of movement, on foot, by tram, with a view to passing light, through the trees and into the sky or at the ground. The city is revealed as both an urbanised as well as an abandoned space. Nothing is to be taken literally; everything has been raised to the level of sensibility and intellect. Even if we do recognise Zagreb, then the poetry of this space is not regional but humanistic and belongs to humanity in general. Among other things, it epitomises the eternal quest for love. / Branka Hlevnjak

Šetnja od grada do duše i natrag / A stroll from the city to the soul and back

PREDGOVOR

— Polazeći od temeljne postavke fotografije kao svjetlopisa Marin Dražančić ovom je izložbom predstavio ciklus u kojem preispituje udio svjetla u crno-bijelom (grafičkom) zapisu. Šetnja gradom postaje okvirni kontekst propitkivanja, razotkrivanja, estetiziranja i poetiziranja fenomena svjetlosti. Nizom jednostavnih situacija (u odnosu na motiv) stvara fini splet kombinacija i varijacija likovnih struktura uzbudljivih i sugestivnih odnosa. Oštrina i neoštrina ravnopravno grade kompozicije kao i postupci poništenja jednog motiva drugim. Sjenovitošću, pokretom ili preprekama autor razigrava svjetlo ili ga naglašava nizom manjih otvora, stvarajući ugođaje u kojima svjetlost gospodari cijelom foto-slikom. Izmjenjivim ritmovima izaziva kod gledatelja čitav raspon (sugeriranih) raspoloženja: od prolaznosti, otuđenja i odsutnosti svake komunikacije, do sjete rastanaka, izgubljenosti i nostalgične želje za probuđenim (novim, možda i drugačijim) danom.

Samo je nekoliko fotografija u boji, kako bi se sugerirala zora, koja rudeći postupno boji stvarnost. Buđenje boja, istodobno buđenju dana, istodobno buđenju ljudi, zbiva se nježno, upravo kako je to prikazao autor. Ružičasto i svijetlo plavo, pomalo zelenkasto i žućkasto sposobno je najprostiji motiv učiniti vrijednim, svečanim i romantičnim. Svjedoci smo ponuđene ljepote i prirodne nevinosti rađanja novog (dana). Ništa na ovim fotografijama nije jednoznačno. Dramaturgija foto-šetnje obuhvaća sve slojeve predmetnih simbola i sugestiju kretanja, pješice, tramvajem, s pogledom u prolazeća svjetla, kroz granje u nebo, ili u tlo. Grad otkrivamo i kao urbanizirani i kao zapušteni prostor. Ništa nije doslovno, sve je uzdignuo na razinu osjećajnosti i intelekta. Ako i prepoznajemo Zagreb, to nije zavičajna poezija koliko humana i opće ljudska. Među ostalim na njima se očitava vječna potraga za ljubavlju.

Pored likovne kompozicije slike koja metaforički pronosi autorovu visoku osjećajnost, svjetlosni odnosi stvaraju naročitu dramatiku. Napetost raste i u sudaru pretpostavljene (očekivane) živosti građana i njihove krajnje odsutnosti ili minimaliziranja. Zapuštenost prostora u odnosu na jedva vidljivi udaljeni arhitektonski glamur postavljeni su nasuprotno kao i obamrlost uspavanih građana, kojih nigdje nema što izaziva tjeskobu. Svjetlosne igre, neba i omeđenih prostora, umjetnog svjetla i refleksa prenose doživljaj zore. Krajnja reduciranost boja u svjetlu koje pobija mrak noći, istovjetna (odlazećem) snu, odraz je osviještenog stanja (pojedinačne) duše. Ovisno koliko je tko spreman otvoriti se minimalističkim oblicima i dopustiti da ga ponesu, ili samo razumski priznaju tu vrstu sugestije, činjenica je da su fotografije Marina Dražančića poetske (metafizičke) naravi.

/ Branka Hlevnjak

Galerija ULUPUH / ULUPUH Gallery