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Revni klesar i nevjerne Venere Kako prići figurinama Petra Hranuellija, kako što potpunije doživjeti te ženske aktove, konvencionalno nazvane Venerama? Osim na uobičajeno kretanje oko objekta,kretanje koje stvara oblike u vizuelnom iskustvu,pozvani smo također da ih okrećemo na dlanu. Da pored promatrača budemo i mjeritelji obujma i njegovatelji površina. Osijetljivim jagodicama prstiju i toplim dlanom obgrljujemo tijela koja uzvraćaju svojom prilagodljivošću i podatnošću. Uzajamno se epiderme tkiva i kamena uvjetuju svojstvenom im taktilnošću. Tako su ti stari oblici-stari po iskonskom prisustvu u čovjekovu stvaralaštvu-uvijek novi ako ih neprestano obogaćuju novi pogledi i dodiri. Doista,koliko aktova toliko raznovrsnih položaja. Bez ikakve shematičnosti i bez krute egzaktnosti, a samo s osjetilnom gipkošću skromnih plastika u kojima je pomirena suprotstavljenost elementarnog materijala i osmišljenost oblikovanja,Petar stvara tijela osobitih mjera i proporcija. Simetrija je tu izlišna, ali unatoč slobodnom rasporedu masa ili ponekoj snažnijoj torziji, ova torza ipak ne prkose prirodi. Njihova lakoća volumena rezultat je naročita spoja organskih i ujedno apstraktnih formi. U formalnom pogledu te ženske korpuse možemo shvatiti kao sjecišta tokova, kao njihovo nabreklo čvorište, odnosno kao ishodišnu točku daljnjeg razvijanja tih silnica. Hranuellijeve Venere, te skulpture dlana( poneka i momačke podlaktice ili djevojačkog krila ) , vesele i pune snage, vedre poput jutarnjeg svjetla, životne su i bremenite-pružaju nam se privlačeći namjernika, otvaruju svoju intimu u snažnom plodonosnom ritmu. Ne preostaje nam nego popratiti, likovno pročitati,tu potpunu integraciju njihovih tijela u prostoru osvojenom rastom,stasom i dinamičkim okretom. Oblik je svakako podčinjen materijalu ( tek ponegdje uočavamo suzdržano naneseni pigment ) do stupnja da govorimo o prirodnosti oblika-oblutka; kao da ih je oformila abrazivnost prirodnih sila. Nešto izražajnija prisutnost djelovanja ruke nalazi se na jednoliko i oporo ornamentiranim površinama. Stilizacijom statue poprimaju karakter simbola,kao da zadobivaju ponešto od božanskih prerogativa. Njihove tipske značajke neizbježno ih povezuju s prethistorijskim Venerama, s magijskim figurama plodnosti “ Sva je u jednoj loptastoj okruglini “- reći će pisac za Willendorfsku Veneru koja je svojom veličinom ( 11cm) i kompaktnošću drevna sestra malih Hranuellijevih Venera; tek su ove potonje usvojile i nesputani plesni pokret juvenilne napetosti. Nikola Albaneže Galerija Arho, Zagreb, 1.12.2005. The dilligent sculptur and the devoted Venus How should we approach the figures of Petar Hranuelli, how to perceive this female acts in their indivuallity, conventionally called Venuses? Except the possibility to circle them by motion, a movement that results in a visual experience, we are also invited to turn them around on our palms and take their measure, nourishing a surface at the same time, besides being a plain observer. With sensitive fingertips and warm palms we hug bodies that respond by adapting, moreover by suppleness. Skin tissue and stone necessitate in their interaction a special tactile experience. In this manner archaic forms of human creativity remain unique only by offering them a new view or touch.And indeed, as many nudes - as many different positions. Without a scheme or rigid accuracy, only by a sensual flexibility of these humble plastics that render certain truce within a conflict between elementary material and meaningful formation, Petar builds scultures of incomparable measures and proportions. Symetry is excluded, but regardless the rather free configuration of the mass or a sporadic strong torsion, this torsos do not challenge nature. Their lightness in volume is the result of a special connection between organic and abstract forms. In a formal perspective though, this female corpuses can be perceived as a crossing of streams, or as their stout knob that makes a starting point in an ulterior development of forces. Hranuelli ́s Venuses – this sculptures od the palm (sometimes a masculine underarm or a female lap) – merry and strong, clear as the morning light - are both perky and pregnant, they simply render by attracting and succeed in their own intimicy by a strong, fructuous rhythm. We on the other hand can only accompany, try to read art in the integration of their bodies in space concurred by stature, figure and dynamic turn.The form however remains liable to the material (only spasmotic we may notice a withhold, inflicted pigment) all to the point when we can speak of the naturallity of the pebble-shingl; as if beeing formed by abrasive natural forces. The more intensive existence of an influence of the arm can be find only on the even and roughly ornamented surfaces. By stylizing, the statues gain a symbolic charachter, as if they are given somewhat of a divine prerogative. Their specific marks of type connect them inevitably with prehistoric Venuses, with this magic figures of fertility. „ She is compleatealy put into a ball-like speher“ – said a writer about the Willendorf Venus, in her size (11cm) and compactness a rather iconic sister of the Hranuelli Venuses. Only the later ones however managed to adopt the uninhibited dance of the juvenile expansion. Nikola Albaneze Gallery Arho, Zagreb 1st Dec 2005 _______________________________________________________________ Iza međa nedohvatnih naslada Rajskih li slasti ponuđenih pogledu: Venera zaronjena u med, okupana, pročišćena medom. Povlastica vida, kojemu je tako ekskluzivno omogućeno da upija i da se sladi ponuđenim prizorom, izaziva i draži i naša ostala čula - okusa, mirisa, opipa… Međutim, suzdržimo se. Ovaj put ne stižemo do takvoga ispunjenja. Nagrada vjernima ostaje na slikovitoj razini poput vizije kojoj valja težiti. Do toga medenog, cvjetnoga soka što ispunio je ostakljeni vrt pretvorivši ga u hram slatkoće, nećemo doseći pa niti otajni nektarij, omotan zlatnožutim svjetlom, dlanovima upoznati. Prelamanje odraza umnaža figurinu, tu negdje je privid, samo ga ne razlikujemo od zbilje. Ili nemamo što razlikovati; privid jest zbilja. I obratno. Neka neobična poklapanja. Promatrajući Veneru u medu – dakle, u materiji koja svojim simboličkim značenjem označava, pored ostalog, i spoznaju samu - uviđamo, točnije spoznajemo privid. Korak dalje i dublje u refleksiju nameće pomisao kako je ipak možda samo riječ o prividu spoznaje. Bilo to kako god vam drago, ostavimo načas himeru gnoze i vratimo odvraćeni pogled na predmet. Luminizam u ovim djelima pokazuje se poput znanoga kinetičkoga efekta kojemu je žrtvovan kamen, ubran kao Zemljin plod, te dodir materijala koji poprima trajne oblike. Međutim, budući da svjetlosni učinak ovdje ipak nije sam sebi svrhom, pred nama je, na neki način, višak obavijesti, preobilje koje možemo shvatiti kao poigravanje značenjima i oblikovnim postupcima. U središtu, doslovnom i idejnom, nalazimo ženska tijela osobitih mjera i proporcija, tijela vesela i puna snage, vedra poput jutarnjeg svjetla, životna i bremenita. I to je dosta. Kud ćeš više? Poput pčela-medarica oblijećemo ih u potrazi za mednikom. Izvan središta pak, a tamo je, dakako, sve ostalo, širi se njegovo očitovanje, emanacija duha kondenzirana u dodatnom činu koji – poništavajući klasični doživljaj skulpture – potvrđuje njenu aktualnost. Nikola Albaneže, Zagreb, 2007. Beyond the boundaries of unseizable regalement Paradise Lost preoccupies the sight : the Venus plunged into honey – bathed and cleansed by liquid gold. A privilge to the eye, an exclusive sight of absorption and enjoyment as a gift, challenging our remaining senses – the taste, the smell, touch ... However – hold in. This time we won´t reach such fulfillment. The faithfull ones will be rewarded on the artistic level with a vision to strive for. Still, the honeylike, florid juice that filled the glas-garden turning it into a temple of sweetness, we´ll never reach as well as never reveal as a secret, gold-lit nectar by the palms.The breaking of reflection multiplies the figure – only a delusion – we are not able to differ from reality. Possibly there even isn´t anything to differantiate – delusion makes reality – and vice versa. Uncommon overlaps. Observing the Honey – Venus within a substance that symbolically and among many other meanings stands for cognition - we suddenly understand – withal realise illusion. A further step imposes the thought that maybe we are rather speaking of the delusion of cognition. As ever it may be – let´s leave for a moment the Himera gnoze likewise Enlightment beside and concentrate on the object. Luminiscence reflects through this works as the well-known kinetic effect to whome we sacrifice the stone, taken as an earthly gift, moreover on the contact with material that imbibes permanent forms. However, since here the luminiscent effect is not the main aim, we are confronted with spare information, an abundance of meanings, a game of shaping methods. In the centre – literal or figurative - female bodies of distinct proportions, merry, full of strength, luminiscently fresh, lively and pregnant. More shouldn´t be asked for. As the honey-bee we continue to search. Beyond the centre still remains its declaration, spritual emancipation condensed in an additional act – by abolishing the classic perception of a sculpture, it certifies its topicality. Nikola Albaneze - Zagreb, 2007 _______________________________________________________________ Svevremenska vitalnost Duhovita nota u ostvarenjima Petra Hranuellija prisutna je od početaka njegova umjetničkog rada. Kako se ne nasmiješiti Veneri na motorinu ili Anđelu na klupi koji, ponekad, može zasjesti na ljuljačku pa ispod neke krošnje i osvijetljen mjesečinom razveseljavati namjernike? A Petrovi su anđeli zapravo prerušene Venere. S dodatkom malenih krila. Za njihova korpulentna tijela to su tek krilca, ali kao da bi – lako nam je zamisliti - i bez njih sva ta ženska bića (premda tobože inkognito prisutna kao Anđeo X) – tako zaobljena, punašna i meka - mogla poletjeti. Uostalom, zar ona nisu već i doletjela u mašti koja je u Petrovim rukama iznašla svoje zahvalno oruđe za utjelovljenje snova? Taj dojam fizičke lakoće postaje metafora duševne lakoće, opuštenog pristupa životu u kojemu se sve što se prikazuje donosi u svome optimalnom stanju, na vrhuncu životne moći i jedrine, kako nam je predočen Bik u pokretu čiji uvjerljivi napon snage nije sapet nikakvim grčem niti naprezanjem. U sasvim spokojnom i hedonističkom ključu valja pristupiti i Bull Rideru. Kao iskazu vitalnog obilja zbog čega Hranuellija doživljavam kao osobitog tvorca isklesanih panegirika i ditiramba čime slavi veličajnost prirode, radosno slavlje postojanja. Pa i kada epiderma njegovih bića – primjerice u Velebitske Venere – nije napeta, nego izbrazdana poput presjeka geoloških slojeva, i tada je to tek ornament, nipošto bilo kakvo tragički intonirano očitovanje čovjekove egzistencije. Dakako, umije se Hranuelli poigrati i izrazitije reduciranim, odnosno apstraktnijim formama kao u primjerima Figure I ili Anđela u poletu. Premda su i to radovi nadasve intrigantnoga koncepta i dojmljive izvedbe, naglašenije modernistička po svome karakteru, autorova duboka vokacija uvijek ga iznova odvuče – na sreću i zadovoljstvo zahvalnih promatrača i uživatelja erotskoga plasticiteta - u smjeru arkadijske pjesme i beskonačne plodonosnosti. Nikola Albaneže, 30.4.2014. Galerija Zilik, Karlovac Contemporary Vitality The rather humorous note in Petar Hranuelli´s creations is present from the very beginning of his artistic expression. How not to giggle at the sight of the Venus on a Motorcycle or the Angel siting on a Bench, who sometimes changes position to a swing benath a tree, struck by moonlight, regaling the observer? Peter`s Angels however are actually disguised Venuses. Additionally clothed by wings - in comparison to their rather corpulent bodies rather „winglets“- but still enabling those female creatures (when speaking of the incognito Angel X) - so round, soft and bouncing - to fly, even without them. It certainly strikes imaginable. After all, haven`t they already found their way into imagination, finding within Peter`s hands a tool for the embodiment of dreams. That sensation of physical weightlessness becomes a metaphor of social lightlessness, moreover the easiness in approaching life, rendering only in perfect state, at the peak of life-strength and vigor as the Bull in Motion, since his convincing power isn´t strapped nor by convulsion or straining. In a rather peaceful and hedonistic manner however The Bull Rider should be approached. As a statement of vitality, that makes me think about Hranuelli as a special maker of sculptured panegyrics and dithyrambs that honor the splendor of nature, the very happiness in existence. And even when the epidermis of his creatures – the Velebit Venus par excellence – isn`t stretched but dinted as the cross-section of geological layers, thus only as an ornament and never as a tragic intonation of human existence. Certainly, Hranuelli knows how to play with even more reduced, that is abstract forms as in Figures I or The Angel boosting. Although these are works of extraordinary intriguing concepts and impressive performance, accentuated modernistic in its character, the author`s deep vocational sense draws him perpetually towards arkadic rhythm of never-ending productivity - for the joy of thankful observers and admirers of erotic plastics. Nikola Albaneže, 30th April – 14th May, 2014 – Zilik Gallery, Karlovac |
