Milan Frčko

 Duhovnost sadržaja prenjeta u apstraktnost slike karakteristika je djela Milana Frčka, koji nepredmetnim oblicima naznačuje i donosi stanja ljudske upitnosti i upućenosti smislu. Postoji u određenoj mjeri i asocijativna figurativna razina vodilja stupnju činjeničnog.

   Sa strogo likovne točke promatranja radi se o djelima neposredne geste, upravo vida slikarskog automatizma, baziranoj na potki racionalnog, nenametljivog unutrašnjeg reda. U ostvarenjima na razmeđi lirske apstrakcije i apstraktnog ekspresionizma u zgusnutom slikarskom polju mijenjaju se raspoloženja, intezitet emotivnog luka, odnosno ugođaji od dramatske pokrenutosti do smiraja.

   Frčko je slikar izgrađene poetike, sigurnog pristupa, te u stvaranju nije opterećen problemima formiranja stila, već se jednostavno predaje nadahnuću direktnošću poteza, ali i njegovanošću boje i tona u ukupnosti gradivne strukture djela. Događanje oblika na slikarskoj površini kreće se od potrebitog stupnja kompozicijske logike do intrigantne nepredvidljivosti, proizašlo iz energije silnica koje dodiruju i oblikovanu jezgru i njeno širenje ka „periferiji“ scene.

Frčko je slikar dojmljivog opusa, koji nove cikluse stvara u koncentratu vremena. Takav je slučaj s najnovijim radovima, primjerima umjetničke zrelosti, nastalih u nekoliko mjeseci. U njima iščitavamo elemente Frčkovog umjetničkog i idejnog svijeta u kontinuitetu ranije znanog, obogaćenog novim iskustvima. Zajednička značajka vitalitet je formi, odraza svojevrsnog praska slikarske magme i njezinog kretanja brojnim partikulama u bezmjerje. I u definiranosti prostora fizičke datosti slike čije granice objektivno postoje, no na doživljenoj razini one su irelevantne.

 Frčko teži povezivanju sastavnica ciklusa uz razumljivo zadržavanje autonomnosti svake slike. Poradi toga sluti se dvojnost pristupa u djelima istinskog kreativnog naboja. S jedne strane linija je to stilske dosljednosti, a s druge maštovitost rješenja, donekle i obrata.

 Frčko odabire različita kadriranja. Od centralno postavljenog „motiva“ s odnosom spram fonda, do zumiranja slikarskog tkiva s negiranjem imaginarne silhuete. A mogućnosti toga raspona su velike. I Frčko ih je iskoristio. Izbjegava bilo kakovu shemu, te su oblikovne nakupine uvijek drugačije organizirane, nose veću ili manju snagu potencijalnog bujanja i opredmećenja znakovitosti svjetla.

 Difuznošću svjetla i njegovim akcentima označavaju se i kromatske vrijednosti. Zanimljiv je odnos Frčka prema boji. Pojedini prikaz donijet je u relativnoj reduciranosti palete, no sve dionice opusa koloristički su uzbudljive jer Frčko pokazuje osjetljivost na puninu kromatske blistavosti. Sadržajni sloj odgovor je na kolorističku iskru koja dodiruje i dimenziju simboličnog. Punina i transparentnost plohe boje nisu tek formalne kategorije več odrednica „literarnog“ razumjevanja djela. Frčko u njeg unosi notu meditativnog, na putu izjednačavanja umjetnosti i života. Poetski treptaj „preslik“ je duše u stalnom dijalogu oporosti zemnog i uzdignuća nebeskom.

 Frčkova umjetnost taj je treptaj (doživljen i kao lahor ali i vihor) s prepoznavanjem uraslosti u sakralno. S otvorenim krugom u kojem je neopisivost transcedetalnog inspiracija - ali i cilj. S pitanjem može li si slikar postaviti zahtjevniji zadatak? Bez sumnje za izražavanje veličajnosti nadnaravnog traži se sinteza likovnog i misaonog, intimnog i univerzalnog.

 A Frčko je talentom i zanosom izgradio sliku kojom ulazimo u prostore ljudskih upitnosti i radosti.

                                                                                                                                                              Stanko Špoljarić - povjesničar umjetnosti


Milan Frčko

   The spirituality of content transferred into abstractness of the painting is charasteristic for the work of Milan Frčko, who by means of subjectless forms accentuates and presents the states of human controversiality and privity into sense. An associative figurative level, guiding principle to the factual exists to a certain extent.

From the strictly artistic point of observation,these works reflect immediate gesture, a sense of painter's automatism, based on the concept of rational, unobtrusive internal order. In accomplishments on the boundary between the lyric abstractness  expressionism in the condensed artistic field, there are changes of mood, scope of emotional intensity and atmosphere varying from dramatic movability to sunset.

Frčko is a painter of defined poetics and confident approach, and in his creation he is not strained with the problems of style creation, he simply gives himself up to inspiration through the directness of strokes, but also through sophistication of colour and tone in the totality of the material structure of the painting. Development of forms on the painting surface varies from the needy level of compositional logics to the intriguing unpredictability emerging from the energy of the magnetic force lines which touch both the shaped nucleus and its spreading to the „periphery“ of the scene.

Frčko is painter of impressive opus, creating new cycles in the concentrate of time. This is the case with his latest works, the examples of artistic maturity developed within a few months. In them we peruse the elemets of Frčko's artistic and ideological world in the continuity of the previously known, enriched with new experiences. The common characteristic is the vitality of forms, reflection of specific burst of the painter¨s magma and its movement in numerous particles into the infinity. It is also the definition of space of physical givenness of the painting , whose boundaries objectively exist, but are irrelevant at the level of personal experience. 

Frčko aspires to connecting the cycle components into comprehensible retention of autonomy of each painting. As a result there is a sense of dual approach in works of genuine creative tension. On one side it is the line of stylistic consistency, and on the other imaginativeness of solutions and in some measure reversals.

Frčko selects different framing, varying from centrally placed motif with relation towards the fund, to the zooming of artistic tissue with negation of the imaginary silhouette. The possibilities of this range are immense. And Frčko used them. He avoids andy kind of scheme, these formative accumulations are always differenty organized, they carry greater or lesser strenght of potential exuberance and reification of indicativeness of light. By means of difuseness of light and its accents he defines chromatic values. Frčko's attitude towards colour is very interesting. Individual outline is accomplished in the relative reduction of the palette, but all parts of the opus are exciting in a coloristic way because Frčko shows sensibility to the fullness of chromatic resplendence. Supstantial layer is the answer to the coloristic sparkle which touches dimension of symbolism. Fullness and transparency of colour surface aren't merely formal categories, but a definition of „literary“comprehension of the painting. Frčko brings a tone of meditative quality, on the way of equalizing art and life. Poetic flicker is a „copy“ of a soul in constant dialogue between the harshness of the earthly and the elevation to the heavenly. 

Frčko's art represents this flicker ( experienced both as a breeze and a hurricane) with recognition of ingrowth into sacral. With the open circle in which the indescribability of transcedental is inspiration but also the goal. With a question can an artist choose a more demanding task? Undoubtedly, for the expression of greatness of the supenatural there has to be a synthesis of artistic and conteplative, intimate and universal. And with his talent and enthusiasm Frčko created a painting throught which we enter the area of human controversiality and joy.

                                                                                                                                                                                                   Stanko Špoljarić

 



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