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Skulpture raširenog dlana Anđeli, meleki, leptirice, namiguše, krilate majke, žene, ljepotice, ljubavnice i nevjernice, putene magijske figurice plodnosti i obilja iz pradavne prošlosti, oblikovane u kamenu plemenite strukture, kipara Petra Hranuellija zaokupljaju na više razina i načina. Hranuelli, prije svega, kao kipar zaokupljen je ljepotom oblika, putenošću i podatnošću materijala i materije. S druge strane uživa u negiranju tvrdoće kamena, spoznaji i duhovnosti nevelikih ženskih figurica koje ispunjavaju rašireni dlan i pozivaju nas na dijalog s kamenom, kao što nas i sam Hranuelli poziva da zajedno s njim putujemo njegovim kiparskim iskustvom. Poziva nas da osjetimo težinu i dodir obrađenog hladnog kamena, držimo ga u raširenim dlanovima, dodirujemo sjajne i napete zatvorene površine koje osjetljivim jagodicama prstiju pružaju zadovoljstvo i uživanje pri dodirima kamene površine, uranjanje u dubinu intuitivnog i emocionalnog svijeta spoznaje. Prije svega, studije su to nagih ženskih tijela, male kamene plastike u kojima Petar Hranuelli u kamenu oblikuje figuru, zaustavlja pokret i iskorak u prostor. Stilizirani ženski akt kao vječna kiparska tema i inspiracija Hranuelliju je istovremeno izazov i izgovor. Izazov oblikovanja jasnih, zatvorenih kiparskih oblika u kojima se smjenjuju fina stilizacija apstrahirajućih formi svedenih na razinu arhetipa, prastari antropomorfni simboli i suvremena duhovitost namjeno zaustavljenog netipičnog i nespretnog pokreta u trenutku u kojem igra oblicima i volumenima zaigranog umjetnika čine sretnim i zabavljaju ga. Zaobljene i senzualne, pune i debele, oble i putene, bujnih bokova i velikih grudi, prignute i propete, zaustavljene u koraku, pokretu ili plesu, sa krilima umjesto glave i lica, vesele i vedre, pune snage i života, Hranuellijeve su namiguše njegovi mali anđeli s dlana koji poput riječnih oblutaka nose svoje zapise pisane u kamenu, ispunjene poštovanjem umjetnika prema materijalu. Proces klesanja, brušenja i poliranja svojih malih bokatih golih teta Petar Hranuelli pretvorio je u igru umjetnika koja je istovremeno i ritual, pradavni sveti čin u kojem iz kamena oslobađa mistična mala bića koja su u njemu bila zarobljena sve do susreta s rukom kipara. U tom trenutku Hranuelli se igra stvoritelja, no istovremeno ostaje bogobojazno biće puno strahopoštovanja prema energiji zemlje zatočenoj u srcu kamena. Istovremeno, Hranuellijeve male kiparske forme izgovor su za krajnje osobne, intimne razgovore između umjetnika i materijala, jer kamen Petru Hranuelliju nije samo slučajno odabrana materija u kojoj ostvaruje vlastitu ideju. Hranuelli oblikuje u bračkom kamenu, najfinijem crnom granitu i bijelom bračkom mramoru, u plemenitom mramoru iz Carrare traži nježno sive niti vodilje i žile u kojima pronalazi otkucaje bila, kojeg isto tako pronalazi u slučajno nađenom kamenju sa velebitskih gora i ličkih gudura, gustom velebitskom vapnencu smeđesive boje prošaranom bjeličastim i crvenkastim žilicama ili ličkom kamenu sivcu, ali i u litotamnijskom vapnencu litavcu iz kamenoloma Bizek sa obližnje Medvednice. Kiparski majstor Petar Hranuelli u kamenu traži dušu, osluškuje duh i dušu kamena te vodi nijeme i duge razgovore u kojima kamen progovara praiskonskim jezikom Majke Zemlje, najstarijim jezikom stvaranja i oblikovanja, jezikom kojim su u pradavna vremena govorili stari bogovi i demijurzi. Hranuelli je nadasve uspješno oslobodio oblik zarobljen i utopljen u kamen, pri čemu parafraziranje Aristotela nije bogohulno pretjerivanje, zato što je Hranuelli doista, uzastopnim udarcima u površinu kamena, čas snažnim i jakim, a potom opreznim, mekim i laganim, oslobodio svoje male krilate bucke odstranivši suvišnu vanjsku kamenu oblogu. Klesanjem kamena, odlamanjem i oduzimanjem ostvario je volumen i prostor koji su u svom prožimanju i sažimanju na površinu izvukli davno zarobljene oblike, što samom procesu stvaranja daje vid obrednog plesa s kamenom, igru oslobađanja oblika, pokreta i priča zatočenih u samo srce kamena. Figurice Petra Hranuellija mogu se osjetiti, odvagati, odmjeriti i pročitati dodirom ruke, a svakim pomakom motrišta mijenjaju nebrojeno mnogo kompozicija i pokreta. Ovisno o kutu gledanja figurice osvajaju nevelik prostor oko sebe i igraju vilinsku igru zavođenja. Kiparska duša Petra Hranuellija je stara. Drevna i puna mudrosti i poštovanja prema materijalu i materiji. Umijeću i znanju. Obliku i ideji preuzetoj iz nasljeđa predaka što su na samom početku stvaranja antropomorfnih oblika zaustavljali vrijeme i pokret. Strpljivošću prvih srednjeeuropskih hominida i paleolitskih umjetnika Hranuelli u šamanskom ritualu lomljenja, brušenja i poliranja kamene površine oslobađa figurice svjetlosti pune snage i života što prkose novim tehnologijama i brzim rješenjima. U nesvjesnom mehanizmu preživljavanja Hranuelli poseže za kamenom, živom materijom koja progovara, sluša i poput Duha svetog govori svim jezicima svijeta, najstarijim jezikom Majke Zemlje, titrajima i zračenjima atoma i subatoma što umjetnika čine prvim do demijurga, izvlače na površinu i spašavaju ga od utapanja u osrednjosti, dosjetkama, umjetnosti trenutka i destrukcije, čineći ga tako umjetnikom svijetle strane stvaranja dobre (i vječne) umjetnosti. Petar Hranuelli još uvijek traga za kamenom mudrosti, oslobađa tragove života zarobljene u kamenu, njegov duh i dušu, individualnost i besmrtnost, naglašava važnost misterija stvaranja, oblikovanja i nastajanja, vezu između zemlje i neba, materije i duha, što u sinergiji stvaranja kamenu udišu misterij života. Draženka Jalšić Ernečić, Koprivnica, 03.05.2014. Sculptures of an Outstretched Palm Angels, Meleks, Butterflies, Winkers, Winged Mothers, Women, Beauties, Lovers and Infidels, sensual magical figurines of fertility and abundance from the ancient past, shaped in stone of noble structure, occupy the sculptor Petar Hranuelli on many levels and ways. Hranuelli above all, as a sculptor, is preoccupied with the beauty of form, sensuality, and the suppleness of material and matter. On the other hand, he enjoys denying the hardness of the stone, the cognition and spirituality of the small female figurines that fill the outstretched palm and invites us to dialogue with the stone, just as Hranuelli himself invites us to travel with him through his sculptural experience. He invites us to feel the weight and touch of processed cold stone, hold it in outstretched palms, touch shiny and tense closed surface, which gives sensitive fingertips pleasure and enjoyment when touching the stone surface, immersion in the depths of the intuitive and emotional world of cognition. First of all, these are the studies of naked female bodies small stone sculptures in which Petar Hranuelli shapes a figure in stone, stops movement and steps into space. The stylized female nude as an eternal sculptural theme and inspiration to Hranuelli is both a challenge and an excuse. The challenge of creating clear, closed sculptural forms in which the fine stylization of abstract forms reduced to the level of archetypes, ancient anthropomorphic symbols and modern wit of purposefully stopped atypical and clumsy movement at a time when playing with the shapes and volumes of a playful entertainer make him happy. Rounded and sensual, full and fat, round and sensual, lush hips and large breasts, stooped and propped up, stopped in step, movement of dance, with wings instead of head and face, cheerful, full of strength and life, Hranuelli winked at his little angles from the palm who, like river pebbles, carry their inscriptions written in stone, filled with the artist`s respect for the material. The process of carving, grinding and polishing his little naked aunts Petar Hranuelli turned into a play of the artist which is at the same time a ritual, and ancient sacred act in which he releases from the stone mystical little creature who were trapped in it until they met the sculptor`s hand. At that sane moment, Hranuelli is playing the creator but at the same time he remains a God-fearing being full of awe for the energy of the earth trapped in the heart of the stone. At the same time, Hranuelli`s small sculptural forms are an excuse for extremely personal, intimate conversations between artists and materials, because the stone to Peter Hranuelli is not just a randomly selected matter in which he realizes his own idea. Hranuelli shapes in stone from Brac, the finest black granite and white Brac marble, in noble marble from Carrara he searches for gently gray guiding threads and veins in which he finds the beats of the ridge, which he also finds in accidentally found stones from Velebit mountains and Lika ravines, dense Velebit limestone, brownish-gray color interspersed with whitish and reddish veins or Lika gray stone, but also in lithotamnian limestone Lithuanian from the Bizek quarry from the nearby mountain Medvednica. The sculptor master Petar Hranuelli searches for the soul in the stone, listens to the spirit and soul of the stone and leads silent and long conversations in which the stone speaks the primordial language of mother earth, the oldest language of creation and design, the language spoken by ancient gods and demiurges. Hranuelli, above all, successfully released the form trapped and drowned in the stone, and paraphrasing Aristotle is not a blasphemous exaggeration, because Hranuelli really, with successive blows to the surface of the stone, immediately strong and powerful, and the cautious, soft and light, released his small winged lumps removing excess outer stone cladding. By carving stone, breaking and subtracting, he achieved volume and space that in their permeation and compression brought to the surface long-cptured forms, which gives the process of creation a kind of ritual dance with stone, a game of releasing shapes, movements and stories trapped in the heart of stone. The figurines of Petar Hranuelli can be felt, weighed, balanced and read with the touch of a hand, and with each movement of the point of view they change countless compositions and movements. Depending on the angle of view, the figurines conquer a small space around them and play a fairy game of seduction. The sculptural soul of Petar Hranuelli is old. Ancient and full of wisdom and respect for material and matter. Art and knowledge. A form and idea taken from the heritage of ancestors that at the very beginning of the creation of anthropomorphic forms stopped time and movement. With the patience of the first central European hominids and Paleolithic artists, Hranuelli in a shamanic ritual of breaking, grinding and polishing the stone surface releases figurines of light full of power and life that defy new technologies and quick solutions. In the unconscious mechanism of survival, Hranuelli reaches for stone, living matter that speaks, listens and like the Holy Spirit speaks to all the languages of the world, the oldest language of mother earth, the vibrations and radiations of atoms and subatoms that make the artist first in demiurge. In mediocrity, with, the art of the moment and destruction, thus making him an artist of the bright side of creating good (and eternal) art. Petar Hranuelli still searches for the stone of wisdom, releases the traces of life trapped in stone, its spirit and soul, individuality and immortality, emphasizes the importance of the mysteries of creation, shaping and creating, the connection between earth and sky, matter and spirit, which breathe the synergy of stone the mystery of life. Drazenka Jalsic Ernecic, Koprivnica. May 3 rd , 2014. _________________________________________________________ Kameni anđeli Petra Hranuellija U vremenima kada anđele šaljemo nevidljivim strunama globalne mreže u nadi da će ih naši prijatelji i poznanici proslijediti drugima, ne zato što vjerujemo u anđele, nego zato što je lijepo misliti na anđele u ovom našem ludom svijetu, mali kameni anđeli Petra Hranuellija podsjećaju nas na neraskidivu povezanost i postojanost vjerovanja i umjetnosti. Anđeologija je posebna tema o kojoj se pripovijeda, piše i raspravlja. Neki je drže znanstvenom disciplinom filozofije i teologije koja pripada domeni duhovnog svijeta i izučava postojanje anđela u različitim religijama i vjerovanjima. Ona nagovještava i zadire u onostranost duhovnog svijeta u kojem tek rijetki pojedinci između mitova i stvarnosti nastoje i uspijevaju spoznati mogućnost njihovog postojanja. U postojanje anđela vjerujemo ili ne vjerujemo. Anđele molimo za prisutnost i pomoć, upućujemo im molitve i zazive, smatramo ih nevidljivim pomagačima i zaštitnicima, vjesnicima i poslanicima, duhovnim bićima bez tijela čija je snaga satkana od slobodne volje. Anđeli, arhanđeli, serafini i kerubini, anđeli čuvari, pali anđeli ili izgubljeni anđeli ne pripadaju prostoru i vremenu u kojem živimo. Anđeli ili meleki po nekima su nebeski glasnici i poslanici stvoreni od svjetla ili puka spoznaja čiste duhovnosti. Svi vidimo anđele samo na sebi svojstven način. Oni su odraz našeg unutrašnjeg bića i unutrašnjih stanja, našeg duha i naših snova. Neki ljudi vjeruju kako anđeli čuvaju anđele, upravo onoliko koliko oni u njih vjeruju. Petar Hranuelli svoje anđele oblikuje u kamenu, kleše ih i polira, oslobađa ih i pušta na slobodu iz tvrde jezgre kamena. On svoje izgubljene anđele pronalazi zatočene u kamenu. Hranuellijevi anđeli su puteni i zaobljeni, naglašenih ženskih oblina, u svojoj nespretnosti hvataju ravnotežu, traže i vrlo često pronalaze tajnu zlatnog reza, savršeni matematički omjer broja Pi koji je upisan u svakome od nas. Zaustavljeni između dva pokreta odražavaju zdvojnost, nemir i energiju koju u sebi posjeduje i sam kipar. Takvi su zato jer ih on tako osjeća, vidi i priziva u svojim mislima, emocijama i djelima. Oslobađajući ih iz kamena ne pokušava shvatiti razloge i načine, uzroke i posljedice, naprosto to čini svojim kiparskim alatom otvarajući im svojim umijećem i znanjem novu dimenziju fizičkog postojanja. Petar Hranuelli u kamenu traži zatočene anđeoske duše, vraća im život i intuicijom umjetnika slijedi ideju stvaranja iz vremena u kojem se u ništavilu oblikovala praznina i stvarao kamen. Svjesno ili nesvjesno Hranuelli oslobađa prvobitni duh i oblikuje život, ocrtava, kleše i polira čudesne oblike i plohe koje u svojoj napetoj, zakrivljenoj, mekoj i zaobljenoj jednostavnosti postaju mali kameni anđeli prizvani u svijet u kojem živimo. Jedinstvo stvaranja leži upravo u jednostavnosti misli i djela koju je Hranuelli našao u kamenu, u oslobađanju stvarnosti bez smislenih i glasno izgovorenih pitanja i odgovora. Petar Hranuelli pogledom na kamen može vidjeti anđela zarobljenog u tvrdoj jezgri stijene. Dodirom neobrađene površine Hranuelli uspješno očitava poruke davno zapisane u strukturi kamene materije. Ako pažljivo promatramo male kamena anđele Petra Hranuellija otvaraju nam se različita polja gledanja, a ako nam kipar na trenutak dopusti, možemo gledati njegovim očima. Samo jedan jedini pogled na male krilate figurice zaustavljene u kretanju, propete, nagnute i razapete između dvije čiste misli, može otvoriti i ispuniti naše vidno polje i naše srce. I tek u tom trenutku možemo osjetiti bliskost sa okamenjenim malim bićima koja svoj život žive u nekim drugim svjetovima kojih uglavnom nismo svjesni. Promatrajući zaigrane kamene anđele, dodirujući prstima i dlanom hladnu i uglačanu površinu, postajemo svjesni njihove razine svijesti, uspijevamo razgovarati, usvajati i razumijevati njihovu okamenjenu realnost. Hranuellijeve anđeoske figurice su bijele, crvene, sive i crne, baš poput kamenih ulomaka što ih nalazi u prirodi i otima iz zaborava Lemurije s onu stranu linearnog vremena. Pritom je njegova interakcija s anđelima svaki put drugačija, uzbudljiva i nova. Mijenja se od trenutka do trenutka, od ulomka do ulomka kamena u kojima Hranuelli nalazi svoje anđele. U bijelom mramoru ili bračkom kamenu zemaljske bjeline što ga brački kamenoklesari beru poput dragocjenih plodova Zemlje Petar Hranuelli nalazi male bijele anđele, crvene nalazi u tamno crvenom karničkom boksitu Velebita, dok su tamni anđeli oslobođeni iz kamenih ulomaka crnog mramora ili tamnosive ličke breče. Petar Hranuelli u zaobljenim organskim površinama i strukturama svojih kamenih anđela traga za savršenstvom, pronalazi i oslobađa savršeni matematički omjer Pi. Pitanje proporcija, tek povremenih namjernih ili nenamjernih odstupanja u dužini i širini anđeoskih krila, zaobljenim bokovima, mekim pregibima i iznenadnim krivuljama, u svakom pojedinom anđeoskom pokretu nesvjesno teži savršenom omjeru i ravnoteži. Pritom, baš kao što savršeni matematički omjer Pi postoji u ljudskom tijelu, svakom živom biću i svim znanim organskim strukturama iz prirode, Hranuellijevi anđeli svojom jasnoćom klesanog kamena prizivaju u naše sjećanje davno usvojene oblike što su lomljenjem, klesanjem, brušenjem i poliranjem oslobođeni iz žive stijene. Petar Hranuelli oslobađa svoje male kamene anđele tragajući za savršenom anđeoskom dušom zatočenom u kamenu i pritom oslobađa sliku prvog pokreta. Tako pronalazi način u kojem je prepuštanje temeljna bit složenog čina stvaranja, što je u Hranuellijevom slučaju iskreno i skladno kiparstvo u kamenu. Draženka Jalšić Ernečić, Koprivnica, 07.02.2015. Angels of Stone by Petar Hranuelli In times when Angels are send via invisible wires of global network, in hope our friends and aquaintances will foward them - not because we believe in them but rather for the sake of still believing in angels in a crazy world - the little stone angels of Petar Hranuelli remind us of an unbreakable connection, of the persistence of believing and of art as such. Angelology though is a separate topic, generally talked and discussed about. By some held for a scientific philosophical and theological discipline, that actually belongs to the domene of the spiritual world and studies the exsistence of angels in different religions and believes. It bodes and enters into the other side of life, where only few manage to recognise the possibilities of exsistence between myths and reality. We either belive in angels or not. We pray for their presence and help, we call for them, consider them invisible helpers and protectors, news bringers or epistles, spiritual bodyless creature, their strenght woven by the freedom of will. Angels, archangels, seraphines and cherubins, angels of protection, fallen or lost angels do not belong to the space or time in which we live. Angels or meleki are according to some heavenly emissaries and legats made out of light and considered being the recognition of pure 16 spirituality. We all recognize angels in a separte way. They are reflections of our inner being and well-being, of our spirit and our dreams. Some believe that only angels are guarded by angels, as much as they believe in each other. Petar Hranuelli however creates his angels out of stone, chistles and polishes them, frees them from the hard core of stone, since it is there, where he finds his incarcerated angels. The Hranuelli angels are sensible and round, femininity stressed, cathing balance in their clumsiness, searching and even finding the secret of the golden cut, the perfect mathematical equlibrium of the Pi constant, that marks us all. Stopped between two separate movements they state difference, disturbance and energy - all a personal characteristic of the sculptor. They are a result of the artist`s feeling, recollecting them in his senses, thoughts, emotions and work. By freeing them from a rock he never seeks to understand causes or consequences - by the simple use of tools he unfolds to them a new dimension of physical exsistence. Petar Hranuelli seeks within stone for incarcinated angelic souls, gives them life and by intuition follows the idea of creation from past times, when stone was initially created from nothing. Aware or unaware, Petar Hranuelli frees the primal spirit, forms life, draws, chistls and polishes extraordinary forms and surfaces, that in their bend, soft, round simplicity become stone angels, called to descend to our world. The unity of creation is based on the simplicity of thought and creation that Hranuelli found in stone, that is in freeing reality without posing any kind of questions. Petar Hranuelli is only by seeing able to recognise the withheld angel within the core of a rock. Touching the freckless surface he manages to decipher ancient messages written in stone matter. By observing the small Hranuelli angels studiously, different fields of perception are offered to us, and only by the author`s approvement we are allowed to share his own viewpoint. Only a single glance at the small figures adorned by wings - stopped in motion, stretched, bended, crucified between two clear thoughts - can open and fulfill our visuality and heart completely. Only then, we are able to feel a certain closeness towards this little, stony things that live a life of some completely other dimensions, we are not able to imagine. Moreover by closer observance of this playful creatures of stone, touching the cold and burnished surface with our fingers and palms, we become aware of their level of consciousness, we manage to talk about, realize and understand their stony reality. The Hranuelli angels are white, red, grey and black just as the stone fragments that can be found in nature and Lemuria ravens from oblivion at the other side of linear time. At the same time the artist´s interaction with the angels differs, it 17 is even more exciting and new by every glance. It changes from one moment to the other, from one stone fragment to the other, where Hranuelli in the end finds his angels. Either in White or Brac stone of earthly blankness that Brac island masons gather as precious fruits of nature, Petar Hranuelli figures out his white ones, whereas the red ones in the carnian bauxite of the Velebit mountain. The dark ones on the other hand are freed from black marble stone chunks and dark-grey Breca from the Lika region. Petar Hrauelli searches in the stony, angelic, round, organic surfaces and structures for perfection – moreover finds and frees the ideal mathematical Pi constant. The question of proportion – sporadic, deliberate or iliberate deviations in the length or width of angelic wingsor hips by soft creases and sudden curves, in every singel angelic movement - unconsciously stiving for the perfect proportion and balance. However at the same time, just as the perfect mathematical Pi equilibrium exists in every human body, living thing and known organic structures in nature, the Hranuelli angels with a clearness of chistled stone invoke memories about imbibed forms from the past, freed from a loose rock by breaking, sculping, edging or polishing. Petar Hranuelli though frees his little, rocky angels in order to find the absolute angelic soul captured in stone, instantaneously releasing the image of the first movement. This is how he finds a way in which abandoment is actually the main essence of the perfect act of creation – in Hranuelli´s case an honest and harmonic stone sculpturing. Draženka Jalšić Ernečić Koprivnica, 7th of February 2015 |
