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Dženisa Pecotić

Deyan Barić

Galerija Kranjčar od 4.10. do 3.11. 2018.

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Jenny’s times of tenderness

In one way or another, good or bad, some people cut and shape our present and our future, as some of their predecessors have cut and shaped in the past, and finally sewn them up. Thanks to them the time bestowed on us seems good or bearable, bad or unbearable. Sometimes, if we are dealing with high quality, talented and good people, and we find ourselves concurrent with them in time and space, the times can with good reason seem brilliant. If they are artists, their art will be sure to help us in the multiplication of the happier, more pleasant and brighter parts of our lives and ensure us a more dignified life. Some rare human and artistic constants with their mere being make lives and times more generous and better and with their quality or art actually provide fresh air for all of us. Dženisa Pecotić is one such constant who in the times where nothing any more seems important and lasting constitutes a safe haven and refuge for all those who cannot acquiesce in the vacuity of the present day.

At first shrinking from the call to write for her, as architect and con-servator, who has not entirely mastered her area of art, the foreword to the catalogue of the exhibition, I rapidly felt immensely honoured and for this reason, on the conviction that she wants something very different, I shall dedicate something of the sort to her. There hardly needs any presenation, but with this valuably succinct exhibition, using her name and surname as acronym, we shall do it one more time, for Dženi and her art merit a great deal more...

Dž – Dženisa – Dženi (Jenny) – graduated from the College for Textile and Garment Design in Zagreb. Since 1982 she has been a member of the Association of Artists of the Applied Arts of Croatia. And as member of the Croatian Association of Independent Artists, she has been engaged in the creation of clothing for men, women and children and since 1983 has regularly appeared on the local and international fashion scene, exhibiting her works in many galleries in Croatia and elsewhere. She has created all kinds of official uniforms, and as co-author has designed the uniforms for the guard of honour, the daily and dress uniforms of officers of the Croatian Army, and uniforms for the police in their judicial, financial and special branches. She has won many awards for her clothing design. Since 1986 she has been occupied with theatrical costume design, for drama, opera and ballet, as well as for films, and in cooperation with a series of distinguished Croatian and foreign directors and choreog-raphers has created some hundred costume design projects. For the costume designs in the performances Fragile and Encyclopaedia of

Lost Time she won two Marul Prizes; and was twice nom-inated for a Prize of the Croatian Actors’ Guild as costume de-signer. She has been decorated with the

Homeland War Medal and the Order of Croatian Interlacing. So much for the purely factual parts of the life of Dženisa Pecotić. Hereinafter I shall write of Dženi, wonderful friend, woman, mother and grandmother.

E – Emotions. Emotions move the world, but few are those who are able to transfer them into artworks the way it works out for Dženi. Every dress and ribbon and the tiniest decoration is eloquent. Vociferous. However delicately transparent her creations might be, they tell of an incredible power of artistic potential that arises only from profound emotions and with which only few are really blessed. Emotions give rise to emotions, and fragile artistic creations quite often become longer-lived than many more stalwart works, for they are forever in the one place worth anything. In our hearts.

N – tenderNess. The tenderness of Dženi’s artistic creations is a welcome guest in these times of arrogance and ignorance in which probably the wonderful floral compositions like her flowers of dresses say more than ever. Telling of a time of gentleness and purity, which moving away from nature and the cleanness within us we have lost irretrievably, they bring us before an immovable question. Which is more than welcome.

I – Intelligence. With intelligent recycling, consequent on repulsion from the senseless hyperproduction and the subsequent amassing of huge piles of trash, Dženi every day shows us the inexhaustible possibilities not only of her artist potential but of the power of art that bounded by wonderfully elastic borders has in fact no boundaries at all.

S – Strength. Every segment of Dženi’s work and appearance, including the obstinate fringe of her well-known hairstyle, sets its face against change. Consistence is a quality that tells of constancy of character and strength of spirit. Dženi is strong, which is best read off, perhaps, from the most fragile creations.

A – Architecture of dress. The part of her years devoted to the study of architecture can clearly be seen in the brilliant clothing com-positions and anti-compositions, as well as in Dženi’s collaborations with architects of similar sensitivities and propensities. As well as the most diverse fashion creations to which she ardently devotes herself, probably the very stiffly defined task of making uniforms, which thanks to Dženi’s sensitivity, eyes and hands become much more than that, she shows the inexhaustibility of her imagination and the strength of great knowledge.

P – Placeable. In Dženi’s case, all her works are instantly placeable, identifiable. The clothing, uniforms, jewellery, hats. Her name, style and hairstyle too. Today almost everything is possible, but luckily it is impossible to force your way to being placeable. We either are or we are not. Dženi has never had a problem with what to many is an insoluble quandary. She is a synonym for the design of clothing.

E – Energy. Since everything in this world gives off its own specific and recognisable energy, so we remember times as happy or unhappy, pleasant or unpleasant, bright or grim sections of our lives. Thanks to Dženi’s energy, our segments are better and our world with the valuable times of gentleness is a much better place.

C – Crayon or Chalk – which stand for Drawing. For without the drawing, there would be no Dženi and none of her marvels. And the drawings published every day to delight us on social media, irrespective of whether the branches are that day graced with bunches of currants or grapes or heads of cabbage or stalks of leeks, teaches us real art, founded on beauty and harmony, propriety and measure.

O – Optimism – There is no need to have doubts about this concept in connection with Dženi. You can see it in the interior of her flat, her worktable, her materials, creations, jewellery, arrangements of glass baubles and beads... and primarily in her warm smile. Optimism in relations with people brings friends, and if riches are measured in friendships, Dženi is rich indeed.

Trunk – i.e., body... This inexhaustible source of inspiration of many is Dženi’s working surface that for three and a half decades she has tirelessly wrapped, swathed and enveloped it, embellished, warmed... Just when we are thinking perhaps that it is impossible to go further and better, she surprise us again. Once again, through play, with surprising ease, she wraps it up and parcels it and ornaments it. And once again we conclude that it couldn’t be better. But Dženi is there to disenchant us of that.

I – stands for igla or needle. Playing with the needle in Dženi’s case is a game of life. Her life is actually defined by this little metallic hardly visible tool with which she has created such lovely things. We owe lots and lots to the needle and thread. Dženi’s hand much more.

CH – Charms. The charms of this rich oeuvre impel us to won-der what the Croatian art of garment design would actually be like without the name of Dženisa Pecotich. The conclusion is very simple.

It would be, like most of what surrounds us, darker and more ordinary.

Luckily, thanks to Dženi, that is not the way it is.

Dženina vremena nježnosti

Na dobar ili na loš način određeni ljudi kroje naše sadašnjosti i bu-dućnosti, kako su i povijest krojili, te naposljetku i šivali, neki njihovi prethodnici. Upravo zahvaljujući njima podarena nam se vremena čine dobrima, podnošljivima, lošima ili nepodnošljivima. Ponekad, ako je riječ o kvalitetnim, talentiranim i dobrim ljudima, a mi se pritom s takvima nađemo preklopljeni u istom vremenu i prostoru, vremena se opravdano mogu činiti i sjajnima. Ukoliko je riječ o umjetnicima, njihova nam umjetnost zasigurno pomaže u umnažanju sretnijih, ugodnijih i svjetlijih segmenata naših života i osigurava nam dostojanstvenije življenje. Pritom neke rijetke ljudske i umjetničke konstante i samim svojim postojanjem živote i vrijeme drugih čine plemenitijima i boljima te svojom kvalitetom ili umjetnošću zapravo osiguravaju svježi zrak plućima sviju nas.

Dženisa Pecotić jedna je takva konstanta koja u vremenima kada se gotovo ništa više ne čini važnim i trajnim predstavlja sigurnu luku i utočište onima koji se ne mire olako s ispraznošću današnjice.

Prvotno ustuknuvši na poziv da joj kao arhitektica i konzervatorica, koja baš i ne vlada suvereno njezinim umjetničkim područjem, na-pišem predgovor katalogu izložbe, ubrzo sam se osjetila neizmjerno počašćenom te joj stoga, po uvjeravanju da baš želi nešto potpuno drugačije, i posvećujem nešto takvo. Predstavljati je ne treba, no uz ovu vrijednu komprimiranu izložbu kroz akronim njezina imena i pre-zimena to ćemo ipak učiniti još jednom jer Dženi i njezina umjetnost zaslužuju i puno više…

Dž – Dženisa - Dženi – diplomirala je dizajn tekstila i odjeće na Višoj školi za dizajn tekstila i odjeće u Zagrebu, a od 1982. je. članicom Udruženja likovnih umjetnika primijenjene umjetnosti Hrvatske. Kao članica Hrvatske zajednice slobodnih umjetnika bavi se kreiranjem muške, ženske i dječje odjeće te od 1983. godine redovito nastupa na domaćoj i inozemnoj modnoj sceni, a radove izlaže u brojnim hrvatskim i inozemnim galerijama. Kreirala je sve vrste službenih odora, a kao suautorica dizajnirala je i uniforme za Počasnu bojnu, službene i svečane časničke odore Hrvatske vojske, te odore za djelatnike Pravosudne, Financijske i Specijalne policije.

Dobitnica je većeg broja nagrada za dizajn odjeće. Od 1986. godine bavi se kazališnom - dramskom, opernom i baletnom, te filmskom kostimografijom pa je u suradnji s nizom uglednih hrvatskih i inozemnih redatelja i koreografa ostvarila oko stotinu kostimografskih projekata. Za kostimografije u predstavama “Fragile” i “Enciklopedija izgubljenog vremena” nagrađena je dvjema nagradama “Marul” te je kao kosti-mografkinja dva puta nominirana i za Nagradu hrvatskog glumišta. Nositeljica je odlikovanja Spomenice domovinskog rata i Reda hvatskog pletera. Toliko o strogoj životnoj faktografiji sjajne umjetnice Dženise Pecotić, nadalje pišem o Dženi, divnoj prijateljici, ženi, majki i baki.

E – Emocija – Emocije pokreću Svijet, no rijetki su ih u stanju pretočiti i u djela na način kako to polazi za rukom našoj Dženi. Svaka haljina, vrpca pa i nasitniji ukras rječiti su. Glasni. Kako god fragilno prozračne njezine kreacije bile one svjedoče o nevjerojatnoj snazi umjetničke potencije koja nastaje samo iz dubokih emocija i rijetki su njome istinski obdareni. Emocije bude emocije pa krhke umjetničke kreacije nerijetko postaju dugovječnijima od mnogih stamenijih djela jer ostaju trajno na jedinom vrijednom mjestu. U našim srcima.

N-(+j) – Nježnost – Nježnost Dženinih umjetničkih kreacija dobro-došlim je gostom u našim vremenima bahatosti i ignorancije, u kojima vjerojatno i divne florealne kompozicije, poput njezinih haljina-cvjetova, govore više no ikad. Svjedočeći o vremenima nježnosti i čistoće, koje smo udaljavanjem od prirode i čistog u nama nepovratno izgubili, zapravo nas dovode pred zid pitanja. A to je više no dobro.

I – Inteligencija – Inteligentnim recikliranjem, usljed odbojnosti spram bezumne hiperprodukcije i posljedičnog gomilanja golemih količina smeća, Dženi nam svakodnevno dokazuje neiscrpne moguć-nosti ne samo svog umjetničkog potencijala, već moći umjetnosti koja oivičena divno elastičnim bordurama zapravo nema nikakvih granica.

S – Snaga – Svaki segment Dženinog djelovanja pa i pojavnosti, uključujući i njezine tvrdoglave šiške iz prepoznatljive frizure, prkosi mjenama. Dosljednost je kvaliteta koja govori u prilog postojanosti karaktera i snazi duha. Dženi je snažna, što se možda najljepše iščitivana baš na njezinim najfragilnijim kreacijama.

A – Arhitektura odijevanja – Arhitekturi posvećen dio studij-skih godina jasno se iščitava i u sjajnim odjevnim kompozicijama, antikompozicijama, ali i u Dženinoj suradnji s arhitektima sukladnih senzibiliteta i naklonosti. Uz najraznolikije odjevne kreacije kojima se revno posvećuje, vjerojatno baš kruto definirani zadatak izrade uniformi, koje zahvaljujući Dženinom senzibilitetu, očima i rukama postaju više od toga, ukazuje na neiscrpnost njezine mašte i moć velikog znanja.

P – Prepoznatljivost – Prepoznatljivosti i postojanosti u prilog u Dženinom slučaju govore sva njezina umjetnička djela. Odjeća, uni-forme, nakit, pokrivala. Njezino ime, stil pa i frizura, također. Danas je moguće gotovo sve, no srećom je nemoguće prisilnim putem postati prepoznatljiv. Prepoznatljivi ili jesmo ili nismo. Dženi s tim, mnogima nerješivim problemom, nikada nije imala problema. Ona je sinonimom oblikovanja odijevanja.

E – Energija – Kako sve na ovom Svijetu odiše specifičnom, prepo-znatljivom energijom, tako i vremena pamtimo kao sretne ili nesretne, ugodne ili neugodne, svijetle ili mračne isječke naših života. Zahvaljujući Dženinoj energiji naši su isječci ljepši i naš je Svijet s vrijednim vreme-nima nježnosti puno bolje mjesto.

C – Crtež - Crtež, crtež, crtež…Bez crteža ne bi bilo ni Dženi ni njezinih čudesa. I svakodnevno objav-ljenim crtežima stabalaca kojima nas veseli po društvenim mrežama, bez obzira rese li njihove grane tog dana grozdići ribizla, grožđa, glavica kelja ili štapići poriluka, podučava nas pravoj umjetnosti, temeljenoj na ljepoti i skladu, decentnosti i mjeri.

O – Optimizam – O tom pojmu u vezi Dženi ne treba dvojiti. Optimizam se iščitava u interijeru njezina stana, na njezinom radnom stolu, u njezinim materijalima, kreacijama, nakitu, aranžmanima staklenih kugli, perli… I primarno njezinom toplom osmjehu. Optimizam u odno-su s ljudima donosi prijatelje, a ako se bogatstvo mjeri pri-jateljstvima, Dženi je jako imućna.

T – Tijelo – Taj neiscrpni izvor inspiracije mnogih Dženina je rad-na ploha koju već tri i pol desetljeća uporno obavija, umata, zama-ta, uljepšava, grije… Taman kada bismo možda i pomislili da da-lje, drugačije i bolje ne može, ona nas iznova iznenadi. Ponovo ga, kao kroz igru, iznenađujućom lakoćom umota, upakira i uresi. I ponovno zaključujemo da bolje ne bi moglo biti. No, Dženi je tu da nas ponovno razuvjeri.

I – Igla – Igranje iglom u Dženinom je slučaju igra života. Njezin život zapravo je definirala ta mala metalna, gotovo nevidljiva alatka s kojom je ostvarila tolike lijepe stvari. Igli i koncu dugujemo puno. Dženinoj ruci i više.

Ć-(+pola kvačice) – Čarolija – Čarolija nas bogatoga opu-sa navodi na pitanje kako bi zapravo hrvatska umjetnost obli-kovanja odijevanja izgledala bez imena Dženise Pecotić. Zaključak je vrlo jednostavan.

Bila bi, kao i većina toga oko nas, tamnija i običnija.

Srećom, zahvaljujući Dženi, tome nije tako.

Dženisa PecotićZrinka Paladino

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Dženisa PecotićDeyan BarićPhotographer and Graphic Designer Fashion and Costume Designer

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Edina Pličanić

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Josip Joško Tešija

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Dubravka Šeparović Mušović

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Johannes Faust Passion (2015.)

Tekst / Text: Johann Wolfgang von Goethe Dramaturg, Koreograf, Redatelj / Dramatist, Choreographer, Director: Milko Šparemblek

Scenograf / Set Designer: Nenad FabijanićKostimograf / Costume: Dženisa Pecotić

Hrvatsko narodno kazalište u Zagrebu / Croatian National Theatre in Zagreb

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“HOMMAGE MILANU STEINERU” Moderna Galerija, rujan 2015. (Modern Gallery, September 2015.)Josip Vaništa – “U počast Steineru,2015.”Suradnja pri realizaciji / Cooperation in realization:Nenad Fabijanić, Dženisa Pecotić

JOSIP VANIŠTA “RUKOVET”

HAZU, ožujak/travanj 2014. (Croatian Academy of Sciences and Arts, 2014.)Josip Vaništa – “Laterna Magica, In Memoriam, projekt 2014.”Suradnja pri realizaciji / Cooperation in realization:Nenad Fabijanić, Dženisa Pecotić 51

The system is a marvellous way to catch the uncatch-able, and art is an effort to catch the uncatchable.(S.V.)

It was all conceived and revealed in the darkness of Thalia’s temple, a place of encounters, flirtation and sensation, which does not evaluate in quanti-

ties, does not measure with a stop watch, but rather connects the power of illusion by the memory of col-lective talent and individuality of monumental identi-fications, character representation, changing images and sublimed messages. The atmosphere charged with seldom acknowledged irritation, terrible irrita-tion, permanent trepidation known only to artists; so much effort, and no one guarantees a reward. (I.Š.)

Through a change in themselves, a somewhat danger-ous transformation into an ever different new char-acter (as Pec would confirm!), with a mask and a suit (costume), appropriated for an hour or two as their own, an actor appears within the limited space of the conquered stage of wonders. “May they look at me, but also see me, may they listen to me, but also hear me” – a yearning of all those who persuasively take the stage which is all the world.

Scattered across the streets, in daylight or in darkness, alone or in a crowd, it is the same. All individuals, each playing a part of their own, now indeed without an exception which allegedly substantiates the rule, they are recognised, quite certainly by the clothes that (definitely!) make the man. Were it not so and so real, all the mirrors would burst with boredom. Close-knit, the man and the ‘skin’ illustrate absolutely everything in all their aspects: measure and character, comedy or drama of life. Tastes and clothing culture are a matter of discussion, quite certainly and continuously.

Pursuing art and the skill of dressing, discreetly but prominently at the theatre, Dženi chose the only right thing: PORTRAYING by ‘skin’.Body work, physical specialities and body language, everything imagined in motion and ranging from cos-tume design and (fashion) dressing, is subjected to ambience, atmosphere and its time (duration). The thoughts her own truth and hand, as her most frequent expression, exist in luckily and understandably speak of her. In this work and metier, everything is shaped to conform to a higher theatrical aim. It comes down to

seconding, no matter the subject or scene. However, one should remain true to oneself; the first and equal, known and renowned where everything is mutually dependent and blended in the unity of harmony.

Here, in the gallery and now she is presenting herself on her own, with measure, around the space, without coloured lighting or a theatrical stage, concert podium or a fashion runway. The exhibition and the display of arte-facts proportion everything where it should be. Quanities kill. Don’t touch! Everything moves per se, in stillness.

The aesthetics of curves, the unbridled geometry of fluids, organic structure and texture of the materials, minimalism or hypertrophy, colours and light, perma-nence and confusion, meditation in creation… I can think of images and metaphors, looking at these birds of paradise guarded by the exhibition venue. Ideas float in the air, created in apparent freedom. Dženisa Pecotić’s l’art pour l’art.Besides, it comes in forms, to many usually a dangerous category of ‘artistic liberties’. The liberties assume an intuitive breakthrough into the existing, but at the same time it assumes an awareness of the limits. Otherwise it would bring chaos.

The flickering process of creating all the shapes and all the parts requires reciprocity, a reflex response. Naturally, it agrees to accept the dialogue of mutually exciting oppositions. All of value in art assumes an element of surprise, contract and contradiction. It is seduced in rapture, realised in tension.

With body… voice… gesture… movement and all the visual sensations, all the hues and repertories towards the same goal and on any stage of life – to SEDUCE, to CONQUER. When the robes and suits cover the bodies, the only thing left is to flirt with feet. (You’re going to do some feet flirting!) Another dance (on the wire)!

Moving around the space of adventure, the space of big chances for success, is the biggest success.(S.V.)

S.V. - Slobodan VuličevićI.Š. - Ivo ŠebaljPec - dr. Zdravko Pecotić

Sistem je izvanredan način da se uhvati uhvatljivo, a umjetnost je nastojanje da se uhvati neuhvatljivo.(S.V.)

Sve je začeto i otkrivano u tami Talijinog hrama, na mjestu susreta, flerta i senzacija u kojoj se ne vrednuje kvantitetom, ne mjeri štopericom i

metrima već se moć iluzije veže memorijom zbirnih talenata i individualnosti monumentalnih identifika-cija, karakternog predstavljanja, promjenjivih slika i sublimiranih poruka. Atmosfera nabijena rijetko pre-poznatim nerviranjem, strašnim nerviranjem, traj-nom strepnjom koju znaju umjetnici; koliko uloženog truda koji na kraju svega ne mora biti nagrađen. (I.Š.)

Promjenom unutar sebe sama, pomalo opasnom tran-sformacijom u uvijek drugačiji novi lik (potvrdio bi Pec!), s maskom i odijelom (kostimom) koji prisvaja na sat ili dva kao svoj, akter se objavljuje u ograničenom prostoru osvojene pozornice čudesa. “Neka me gledaju, ali i vide, neka me slušaju, ali čuju” - težnja je svakog tko stane uvjerljivo na crne daske od životne važnosti.

Po ulici rasprostranjeno, danju i po tami, sami ili u mnoštvu isto je tako. Individua do individue, svaki sa svojom ulogom, sada stvarno bez iznimke koje navod-no potvrđuju pravilo, prepoznaju se, sasvim izvjesno i po odjelu koje (itekako!) čini čovjeka. Da nije to tako i stvarno, od dosade bi popucala sva zrcala. Sljubljeno, čovjek i “koža” pokazuju jednostavno sve u svim svojim granicama: mjeru i karakter, komediju ili dramu života. O ukusima i kulturi odijevanja se raspravlja, sasvim sigurno i kontinuirano.

Bavljenjem umjetnošću i umješnošću odijevanja, u teatru samozatajno ali istaknuto, Dženi je izabrala, jedino ispravno: PORTRETIRANJE “kožom”.

Rad po tijelu, tjelesne posebnosti i govor tijela, sve zamišljeno u pokretu i rasponu između kostimografije i (modnog) odijevanja podređeno je ambijentu, atmosferi i svome vremenu (trajanja). Pri tome, misli u kojima u potpunosti egzistira njena vlastita istina i ruka kojom se izražava najviše, razumljivo i na sreću, govore o njoj samoj. Sve se u tom radu i metjeu podređuje višem teatarskom cilju. Svodi se, treba reći, na sekundiranje, ma o kakvoj se temi ili sceni radilo.

Ali treba biti svoj; prvi i jednak, poznat i prepoznat na mjestu gdje je sve međuovisno i stopljeno u jedinstvu harmonije.

Ovdje, u galeriji i sada, prezentira se sama, odmjereno po prostoru, bez obojanog svjetla ili scene kazališta, koncertnog podija ili modne piste. Izložbom i postavom artefakata proporcionira se sve na svom mjestu. Koli-čine ubijaju. Ne diraj! Sve se giba po sebi, u mirovanju.

Estetika krivulja, neobuzdana geometrija fluida, organska struktura i tekstura materijala, minimalizam ili hipertrofija, kolorit i svjetlo, stalnost i konfuzija, me-ditacija u kreaciji... Padaju mi na pamet slike i metafore, gledajući ove rajske ptice koje čuva izlož(b)eni prostor. Zrakom lete ideje, očito slobodnog stvaranja. L´art pour l´art Dženise Pecotić. Uz to, očituje se oblicima, za mnoge inače opasna kategorija “umjetničke slobode”. Sloboda podrazumijeva intuitivan proboj kroz posto-jeće, pretpostavlja istovremeno i svijest o ograničenju. U suprotnom značila bi kaos.

Titravi proces nastajanja svih oblika i svakog dijela teži reciprocitetu, refleksnom odgovoru. Pristaje, narav-no, na prihvaćanje i dijalog međusobno uzbudljivih suprotnosti. Sve vrijedno u umjetnosti pretpostavlja stavak iznenađenja, kontrasta i kontradikcije. Zavodi se u zanosu, realizira u međunapetosti.

Tijelom…., glasom..., gestom,... pokretom i svim li-kovnim senzacijama, svim nijansama i repertoarima ka istom cilju i na bilo kojoj sceni života - ZAVESTI, OSVOJITI. Kad halje i odijela prekriju tijelo, preostaje flert sa stopalima. (You´re going to do same feet flirting!) Opet ples (po žici)!

Kretati se u području avanture, u području velikih izgleda za neuspjeh, najveći je uspjeh(S.V.)

S.V. - Slobodan VuličevićI.Š. - Ivo ŠebaljPec - dr. Zdravko Pecotić

FLERT NA POZORNICI ČUDESA

FLIRTING ON THE STAGE OF WONDERSNenad Fabijanić

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Dženisa Pecotić

Thank you Nenad Fabijanić for allowing me to use the sketches of his architecture which I used in creating my fashion sculptures.

Zahvaljujem Nenadu Fabijaniću što mi je ustupio skice svojih arhitektonskih djela, koje sam koristila u kreiranju svojih odjevnih skulptura.

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Zahvaljujemo:

Jedan od prvih umjetničkih fotografa Ansel Adams istaknuo je kako nije dovoljan samo fotoaparat da bi se napravila dobra fotografija već je fotografi-

ranje proces koji prožima mnoge aspekte fotografa – sve slike koje su mu ikad prošle kroz glavu, sve knjige koje je pročitao, glazba koju je preslušao, osobe koje je volio…

Misao potvrđuje djelovanje fotografa i grafičkog di-zajnera Deyana Barića koji s višegodišnjim iskustvom rada i vođenja projekata u brojnim tiskanim medijima i na digitalnim platformama na svojstven način bilježi i interpretira svijet oko sebe izražavajući se u mnogim područjima fotografije – od modne, portretne i reklamne fotografije preko produkt fotografije pa sve do područja umjetničke fotografije.

Iskusan u svim sferama rada na tiskanim medijima, koji obuhvaćaju fotografsko snimanje, obradu fotografija,

grafički dizajn, prijelom te uredništvo i prezentaciju prema klijentima i ciljanoj publici, Deyan Barić svakom novom projektu pristupa individualno koristeći širok spektar znanja i interesa koji mu omogućuju transfor-maciju i prenošenje informacija na zanimljiv i pitak način.

Od snimanja u kontroliranim uvjetima studija do korištenja prirodnih datosti eksterijera Deyan Ba-rić suvereno vlada elementima fotografije stvaraju-ći dinamične i intrigantne kompozicije. U okvirima otići korak dalje istražujući pritom inovativne pristupe zadanoj temi šireći pritom dijapazon mogućih načina interpretacije.

Bilo da je riječ o živim ekspresivnim bojama prilikom snimanja modnih editorijala, direktnoj komunikaciji s modelom kod portretne fotografije ili atmosferičnosti arhitektonskih veduta Deyan Barić vođen izraženom intuicijom i vještim poznavanjem fotografske materije uspijeva zabilježiti karakter modela, te na kreativan način ispričati priču zabilježenu kroz fotografski objektiv.

Svaki fotograf svjetlom oblikuje vlastito viđenje stvar-nosti. Spojem glamura, bunta, umjetnosti i eksperi-mentiranja Deyan Barić spaja ljepotu i kreativnost, dok raznovrsnošću promišljanja unutar svijeta fotografije kroz dvodimenzionalni medij upućuje promatrača u po-tencijalno neistražene dimenzije svijeta u kojem živimo.

One of the first art photographers Ansel Adams said it takes more than a camera to make a good photograph; photography is a process

imbuing many aspects of the photographer – all the images that ever crossed his mind, all the books he read, the music he listened, the persons he loved…

This thought is substantiated by the achievements of the photographer and graphic designer Deyan Barić, whose many years of experience in working and project managing for a series of print media and digital plat-forms idiosyncratically register and interpret the world around him, expressing in many fields of photography – from fashion, portraits and advertising, to product photography, to art photography.

Experienced in all the aspects of print media work, encompassing photo shoots, photo editing, graphic de-sign, layout, as well as editing and presentation for clients and target audience, Deyan Barić approaches each new project individually, lean-

ing on a broad spectrum of knowledge and interests which make it possible to transform and convey infor-mation in an interesting and simple way.

From shooting in controlled conditions of a photo studio, to using the natural advantages of the outdoor space, Deyan Barić confidently masters the elements of photography creating dynamic and intriguing compo-sitions Deyan Barić is trying to take every new project a step further, exploring innovative approaches to the given subject and expanding the range of possible interpretations.

Be it lively expressive colours of fashion editorial, direct communication with the model in portrait photography, or the atmosphere of architectural vistas, Deyan Barić, guided by expressive intuition and skilful knowledge of the photographic matters, manages to capture the model’s character and creatively tell a tale registered by the camera lens.

Every photographer uses light to shape his own vision of reality. By combining glamour, rebellion, art and ex-periment, Deyan Barić connects beauty and creativity, and his diversity of examination inside the world of pho-tography, through a two-dimensional medium, leads the observer to the potentially uncharted dimensions of the world we live in.

Deyan BarićSonja Švec Španjol, mag.hist.art.

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impresum

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Just go over and flirt a little bit.