• NEBO JOKA/ THE SKY IS CRYI NG SLABANA MATIC TRSTENJAK NEBO JOKA/ THE SKY S CRY NG SLABANA MATIC TRSTENJAK Modro kombinirana tehnika na platnu 43x32cm Blue mix media on canvas 43x32cm Strokovno izhodiščemag. Sladane Matic Trstenjak temelji v likovni akademiji v Sirokem Brijegu, ki so jo ustanovili priznani hrvaški likovni ustvarjalci in pedagogi z namenom prežarčiti bogato tradicijo zagrebške ALU tudi na področje BiH. še posebej v kraje z večstoletno katoUško tradicijo (frančiškani), pri čemer se je srditost minule bratomorne vojne na tem območju globoko zarezala tako v zavest kot podzavest mlade Ukovne ustvarjalke. ki na mariborski, pa tudi na širši slovenski likovni sceni, predvsem zaradi svojega izobrazbenega profila. neobičajnega osebnega sloga in etničnih korenin, predstavlja pravo redkost. Zagotovo ji je prav zaradi posebnih okoliščin vojne v nekdanji skupni domovini iz nacionalnih in verskih povodov tematika holokavsta toliko bližja in jo tudi neposredno zadeva. Sistematično uničevanjesoljudi bodisi zaradi drugačnega svetovnega nazora ali vere bodisi zaradi rasnega ali nacionalnega porekla je žal tudi v današnjem svetu grozljivo aktualno Na slikah Sladane Matic Trstenjak se holokavst simbolno manifestrra kot brezdušni golem, grozeče dvigujoč se kot ogromna temačna gora v ozadju brezskrbno učinkujočih pejsažnih upodobitev. V umetničinem prepoznavnem likovnem izrazu se po eni strani presenetijivo zrcalijo odmevi nemškega ekspresionizma ob izraziti ploskovitosti,deformiranem oblikotvorju in krepko, pogosto črno konturo, po drugi strani pa gre za individualne variacije na temo geometrijsko stiUziranega, znakovne simbolnega upodabyanja krajinskih motivov s poudarkom na gozdovih ali posameznih drevesih ter izmenjujočih se poljih in hribih. Cetudi posreduje likovna celota izrazito dvodimenzionalen. mestoma celo grafično ploskoviti vtis, pa je zaradi prekr ivanja likovnih objektov in toplo hladne modulacije, h kateri bistveno prispevajo intenzivne črne partije, čutiti precejšnjo globinsko p rostorsko iluzijo. Kot posebnost nastopajo na slikovni površini kolažirani vložki v obliki iztrganih papi rčkov, porisanih z abstraktna ogljeno ali grafitno akcijsko oscilirajoče risbo. Drevesa so praviloma upodobljena kot znaki s črno obrabo, kratkim deblom in krožno krošnjo, ki je lahko dopolnjena z na glavo obrnjenim vzorcem ribje kosti. pri čemer gre za skorajda edini neposredno prepoznavni detajlirani likovni objekt. saj so prevladujoča poya, gore in vode zasnovane skrajno asociativno abstraktna. kot nepravilni geometrijski liki v smislu neskončnega kompozicijskega omrežja, nadaljujočega se z ene slikovne površine na drugo. Umetnica tako oči tno številnokrat upodablja izreze ene in iste domišijijske. malodane otroško retrospektirane pokrajine,ki jo lahko kot neskončnozgodbo spremljamo po stenah razstavnega prostora. pri čemer opazovalcem prepušča, ali bodo slikovno dogajanje neposredno doživljali na primarnem perceptivnem nivoju, kot abstraktna harmonijo likovnih elementov ali pa na višji ikonografski stopnj i prepoznavali vsebino likovnega dela. Umetnica se v novejšem ustvarjalnem obdobju rada odziva vabilom na sodelovanje pri različnih likovnih kolonijah,kjer se prilagaja drugačnimustvarjalnim okoijem, tako je na primer na XV Mednarodni likovni koloniji Lija Lent 2013 morda prvič v svojem opusu v kakšno kraj insko kompozic ija doslikala prepoznavni arhitekturn i detajl, in sicer spominsko cerkvica na Kalvariji, ki jo je opazovala iz ateljeja v šestem nadstropju dijaškega doma. ali pa duhovito nasli kani lik vragca na l. Mednarodni likovni koloniji v organizaciji Mladinskega kulturnega centra Maribor na temo Leto hudiča istega leta. Precedenčno se je posvetila tudi zgodovinski tematiki sarajevskega atentata, na povabilo Stajerskega deželnega zavoda za kulturo iz Gradca. v organizaciji galerije Modri atelje (Blaues Atelier) je februarja lani. ob obletnici pričetka prve svetovne vojne. samostojno predstavila dela iz ciklusa Nebo nad Sarajevom (prvič z upodobitvijo neposredno prepoznavne figuralne kompozicije atentata). posvečenega vsem herojskim prebivalcem BiH, ki so skozi stoletja trpeli zaradi neprestan ih vojskova nj, a nikoli izgubili poguma in volje za nadaljevanje življenja tudi v najbolj skrajnih pogojih. Ne nazadnje je treba omeniti tudi let ošnje umetničino sodelovanj e na likovni koloniji in sku pinski razstavi v Istambulu s tematiko obletnice bitke pri Gallipoliju (<;anakkale). Mario Berdič Mag. Sladana Matic Trstenjak's professional starting point is based in the Academy of Arts in Široki Brijeg which was founded by recogn1zed Croatian artists and teachers with the intention to beam the rich tradition of the Zagreb Academy of Arts to the area of Bosnia and Herzegov1na. espee~ally to the places with centur1es-long Christian tradition (the Frane~scans), whereby the fierceness of the past fratricidal war in this area was deeply engraved both on the consciousness and subconsciousness of the young artist who especially due to her educational profile, unusual personal style and her ethnic origin represents a real rarity on the Maribor artistic scene, as well as on the wider Slovenian one. Certainly just because of the special occasions of the war in the form er common republic from national or religious reasons, the top1c of holocaust is even closer to her and relates to her directly Systematic destruction of people, either due to their different view of life and religion or due to their racial or national origin, is unfortunately still a dreadful top1cal issue in today's world ln Sladana Matic T rstenjaks paintings, holocaust is symbolically manifested like soulless golem. threateningly rising like an enormous gloomy mountain at the background of a landscape with a contrasting carefree effect. On the one hand, in the artist's recognizable artistic expression, echoes of the German expressionism are surprisingly reftected next to explicit ftatness. deformed morphology and bold, often black border, while on the other hand, there are individual variations on the topic of geometrically stylized symbolic representation of landscape motifs with the emphasis on forests or individual trees and alternating fields and hills. Even though the artistic whole conveys an explicitly two-dimensional and partly even graphically flat effect. due to overlapping of artistic objects and warm-cold modulation, essentially characterized by intens1ve black portions, considerable deep spatial illusion can be experienced. As a specia lty, collaged pieces in the form of little tom-out papers appear. painted with abstract. charcoal or graphite, act1on oscillating drawing. As a ru le, trees are represented as signs with black border, short trunks and c1 rcular crowns that can be complemented with a fish bone pattern turned upside dawn, whereby trees are almost the only directly recognisable detailed object. since the predominating fields, mountains and waters are designed extremely associatively abstract, like irregular geometr1cal shapes in the sense of endless compositional network. continuing from one painting to another. Obviously, the artist thus many times uses elips of one and the same imaginary, almost child ishly retrospected landscape that can be followed as an endless story on the walls of the exhibition hall, whereby she lets the observers decide whether they will experience the happening in the painting directly on the primary perceptive level, as an abstract harmony of artistic elements or they will interpret the content of the artistic work on a higher iconographic level. ln her recent creative period, the artist likes to participate in different artistic colonies where she adapts to different creative environments, thus she for instance added a recognizable architectural detail into a landscape composition perhaps for the first time in her opus, namely the memorial church on Kalvarija which she observed from a studio on the sixth ftoor of the dormitory at the Y0l Lija Lent 2013 International Artistic Colony or a wittily painted little devil at the Ist International Artistic Colony in organ1zation of the Youth Cultural Centre Maribor on the topic of the Year of the Devil in the same year. Precedently, she devoted herself also to the historical topic of the Sarajevo attempt at the invitat1on of the Styrian Country Institute of Culture from Graz, in organization of the Blaues Atelier gallery where she last year in February, on the occasion of the ann 1versary ofthe beginning of the World War 1, presented works from the Sky above Sarajevo cycle (first time with the representation of directly recognisable figural compos1tion of the attempt), devoted to all heroic inhab1tants of Bosn 1a and Herzegovina who due to ceaseless warfare suffered for centuries but never last courage and will for continuation of life even 1n most extreme conditions. Lastly, one should mention the artists partic1pation in the artistic colony and group exhibition in Istanbul with the top 1c of the battle of Galllpoli (~anakkale) this year. Mario Berdič Cmonm-..to kombininno \llrioo na platnu 6a5x«lcm Bl8ckrtP:J mile~on aJrNBI 685x«lcm Modra noč kombinimna lllrica na pisb1u 49x40em Blue nlglll "*mediaoo Q!I'MD: 49x40an Wak lcomblnl....,tllriot noplatnu 4&5•-40 0'11 ClcLd mxmodoon.,."_ 465x«lan 1. . " l 1 1 1 t '' l 1 •l. ' Sonce koo1binim,..., tllrico na plltnu 36,5x30cm SUn rT'IIf: med111 (r1 CIII'M:IS 385x30cm Good lcomblnl....,tllriot noplatnu 44.5•30an fuest mxmodoon.,."_ 44Sx30cm Sl.bls sem SIJ