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„Venera na brijegu“, skulpture i crteži Petra Hranuellija u Galeriji Kraluš Svaka zvijezda je zrcalo koje odražava istinu unutar vas. A ova tu, to svijetlo iznad brijega, je od samih početaka naše povijesti. Nazivali je Večernja zvijezda, Jutarnja zvijezda ili samo Venera, kao „sijačica života u vječnom svemiru“, ona uspostavlja posebnu vezu sa Zemljom, održava prirodni uzorak rasta koji vidimo u prirodi i simbolizira zakon privlačnosti u akciji. Budući da zvijezde odražavaju znanje svetog, božica koja „dolazi“ svemu (venire), proizlazi i iz riječi venustas –privlačnost, ljepota, ljupkost, milost. Prepoznata od prapovijesti do danas, u svakoj kulturi nosila je kanon svjesnih uvjerenja i vrijednosti i niz temeljnih i opće nesvjesnih pretpostavki, izraženih kao idol, bog, demonska sila i praznovjerje. Ove matrice sugeriraju da se svijest pojedinaca i kolektiva razvila paralelno. Većina kultura proizvodi niz arhetipova kako bi se poboljšala individualna samosvijest i zrelost, te tako kroz povijest pratimo taj put od kolektivnog plemenskog majčinskog arhetipa do očinskog arhetipa utjelovljenog u proroku. Arhitipi Velike Majke bile su elementarne slike koje proizlaze iz nesvjesnog, a zapadnjačke monoteističke kulture morale su ponovno otkriti taj arhetip kako bi pomaknule dominantnu patrijarhalnu svijest. I dok jedno oko vidi, drugo osjeća, današnji moderni čovjek nastoji istražiti vizualni imaginarij nesvjesnog, tražeći oblik u primordijalnoj slici tajnovite arhitipije Velike Majke koja je bila nešto više od infantilne seksualne radoznalosti. Venera Miloska ustupa mjesto istraživanja Wilendorfskoj Veneri i sličnim, zapanjujuće ekspresivnim, figurama iz prapovijesti. Srce kamena je skulptura i tamo gdje materijal završava, umjetnost počinje. Petar Hranuelli u svojim skulpturama oslobađa prvobitni duh i oblikuje život u onom primarnom i možda najprihvatljivijem doživljaju jednostavnosti. Naglašava važnost misterija stvaranja, oblikovanja i nastajanja, vezu između zemlje i neba, materije i duha. Postepeno gradi autentičan stil, osluškujući potrebe suvremenog, nikada ne zaboravljajući tradicionalno. U svojim skulpturama promatra 'formu' kroz „stanje pokretanja“, kao i ''snagu mirovanja'', kroz njezino diskontinuirano prepletanje, promjenu smjera i razvijanje, odnosno zaustavljanje toka oblikovane mase. U pojednostavljivanju figurativnog obličja tijela, naglašenih ženskih oblina, Petrove Venere hvataju ravnotežu, nemir i energiju koju u sebi posjeduje i sam kipar. On koristi elemente 'životnosti' odnosno snagu pokreta, ritam i dinamiku; dakle, sve one elemente koji pokreću naše tijelo i čine ga životnim, kao što životnošću ispunjavaju i sve oko nas. Ti iskonski oblici u čovjekovom stvaralaštvu obogaćeni su novim pogledima i dodirima obrednog plesa od statične, zatvorene mase, postupno se oslobađaju i prave iskorak svojim volumenom i pokretom u prostor. U crtačkim studijama, koje su uspješni predlošci kiparove male plastike, sigurnim i snažnim crtama ističe potrebu za redukcijom crtačkog prostora a sami crteži se pretvaraju u svojevrstan likovni dnevnik. „Umjetnost je moja najveća strast i ljubav... Prvenstveno sam ljubitelj umjetnosti. Uživanje u umjetnosti, kao i skupljanje umjetnina neka je vrsta ovisnosti.“ – reći će jednom priliko Petar Hranuelli uspješni hrvatski kipar, rođen na otoku Braču, i čija se djela nalaze u mnogim javnim i privatnim zbirkama diljem svijeta. Pratimo tu zvijezdu dok se ogleda u moru pored otoka, dok plovi iznad ličkih šuma i polja i dok sja, u svojoj auri, nad zelinskim brijegom nadomak Zagreba. Danko Merin, prof. Galerija Kraluš, Sv.Ivan Zelina, 15.3.-13.4.2018. „Venus on the Hill“, Petar Hranuelli sculptures and drawings in Gallery Kralus Each star is a mirror that reflects the truth within you. And this one here, that light above the hill, is from the very beginnings of our history. Called the Evening Star, the Morning Star, or just Venus, as the “seeder of life in the eternal universe”, it establishes a special connection with the Earth, maintains the natural pattern of growth we see in nature, and symbolizes the law of attraction in action. Since the stars reflect the knowledge of the sacred, the goddess who “comes” to everything (venire), also derives from the word venustas – attraction, beauty, grace, dearness. Recognized from prehistory to the present day, it has carried in every culture a canon of conscious beliefs and values and a series of fundamental and generally unconscious assumptions, expressed as an idol, God, demonic force, and superstition. These matrices suggest that the consciousness of individuals and collectives has developed in parallel. Most cultures produce a range of archetypes to enhance individual self-awareness and maturity, and so throughout history we follow this path from the collective tribal maternal archetype to the paternal archetype embodied in the prophet. The archetypes of the Great Mother were elementary images emanating from the unconscious, and Western monotheistic cultures had to rediscover that archetype in order to shift the dominant patriarchal consciousness. And while one eye sees, the other feels, today´s modern man seeks to explore the visual imaginary of the unconscious, seeking form in the primordial image of the mysterious archetype of the Great Mother that was little more than infantile sexual curiosity. Venus de Milo gives way to exploring Venus of Willendorf and similar, astonishingly expressive, prehistoric figures. The heart of the stone is sculpture and where the material ends, art begins. Petar Hranuelli in his sculptures liberates the original spirit and shapes life in that primary and perhaps most acceptable experience of simplicity. It emphasizes the importance of the mysteries of creation, shaping and creation, the connection between earth and sky, matter and spirit. Gradually, he builds and authentic style, listening to the needs of the contemporary, never forgetting the traditional. In his sculptures, he observes “form” through the “state of motion”, as well as the “force of rest”, through it discontinuous intertwining, change of direction and development, i.e. stopping the flow of the formed mass. In simplifying the figurate shape of the body, the accentuated feminine curves, Petar`s Venus captures the balance, restlessness and energy that the sculptor himself possesses. He uses elements of “vitality” or strength of movement, rhythm and dynamics; therefore, all those elements that move our body and make it vital, just as they fill everything around us with vitality. These primordial forms in human creation are enriched with new views and touches of ritual dance from the static, closed mass, they are gradually released and make a step forward with their volume and movement into space. In drawing studios, which are successful templates for the sculptor`s small sculptures, he emphasizes the need to reduce the drawing space with safe and strong lines, and the drawings themselves turn into a kind of art diary. “Art is my greatest passion and love… I am primarily and art lover. Enjoying art, as well as collecting art, is a kind of addition.” – will once Petar Hranuelli say, he as being a successful Croatian sculptor, born on the island of Brac, and whose works are in many public and private collections around the world. We follow this star as it is reflected in the sea near the island, as it floats above the forests and fields of Lika and as it shines, in its aura, over the Zelina hill near Zagreb. Danko Merin, prof. Gallery Kralus, Sv. Ivan Zelina, March 15 th – April 13 th , 2018. |
