Petar Popijač - Žerjavica / Embers

Galerija Božidar Jakac - lapidarij

otvoritev razstave, 22. september 2014 ob 19. uri

V specifičnem, za prostore lapidarija koncipiranem projektu, je Petar Popijač (1988, Varaždin) znova dokazal popolno eksistencialno predanost mediju sodobnega kiparstva, ki prežema njegovo bit v celoti. Njegove eksperimentalne kreativne poteze imajo širok diapazon, ki se ne zapira v likovne stilske opredelitve in ne zamejuje kreativnih idej, pri čemer pa vendarle daje pomemben poudarek metjejskemu znanju in tehnološkim zakonitostim, njegova premišljena vsebina, ki je po navadi asociativna in gledalca nagovarja kot sogovornika, pa ostaja ontološka. Avtor je projekt zasnoval tako, da v njem začutimo zgodovinsko namembnost prostora v duhovnem smislu in tudi materialno prežetost konstituiranja prostora v zadnjem obdobju, ko ima pomembno vlogo kot materija prav hrast. Ravno izbor hrasta, ki pa ni le navaden hrastov les, temveč gre za subfosilna debla hrastov, značilne sivkaste barve, ki so bila več kot tisočletje zakopana globoko v plasteh zemlje, večplastno povezuje Popijačevo čutenje brezčasnosti nekdanjega samostanskega prostora, kjer senzualen umetnik postane le ponovni prevodnik energij. Prav izbor materiala je tisto, kar najbolj opredeljuje tokratno Popijačevo postavitev, konceptualno pa je prežet z idejo vročine, kot energijo, ki brez preprek prehaja skozi materijo in jo modificira, kar je značilno tudi za kiparski postopek.

With this specific project, which was conceived for the spaces of a lapidarium, Petar Popijač (1988, Varaždin) has once again proven his complete existential devotion to the medium of sculpture, which permeates the whole of his being. His experimental, creative strokes capture a broad diapason that does not shut itself off within stylistic definitions and does not set limits on creative ideas. At the same time, the author highlights professional know-how and technological laws, while his carefully thought out content, which is usually associative and draws the viewer in as an interlocutor, remains ontological. The author has formulated the project so as to enable us to feel both the historical function of the space in the spiritual sense as well as the material saturation of the constitution of the space in recent times, when oak has begun to play an important role. It is Popijač’s choice of oak as the predominant material in his installation - not just regular oak, but immaculately preserved sub-fossil oak trunks of a characteristic gray colour that were buried deep beneath layers of earth for millennia - that summarises in multiple layers Popijač’s feeling for the timelessness of the former monastery - a spatial context in which the sensual artist is but a reconductor of energy. This time around, it is the selection of material that to the greatest extent defines Popijač’s installation. Conceptually, it is rife with the idea of heat as energy that unobstructedly flows through the material and modifies it in a process that is also inherent in the process of sculpting.

Kustos razstave: Goran Milovanović