ana guberina

više o ani guberina

Novi ciklus slika Ane Guberine nastavlja se na njezina prethodna istraživanja u području gestualne apstrakcije, no apstraktna matrica delikatnih linija naznačuje iznimno složen doživljaj stvarnosti. To nije apstraktno slikarstvo koje bježi od kompleksnosti svakodnevice, i u kojemu se umjetnica emotivno i mentalno ograđuje od zbilje, već slojevito elaboriranje nekoliko prisutnih dimenzija realiteta koje svi vrlo izraženo osjećamo. Baveći se nekim vječnim i univerzalnim temama poput ljubavi, bliskosti, duhovnosti i povezanosti svih živih bića u ovom kutku Svemira, Ana Guberina povremeno jasno naznačuje ljudski lik, oblake, planete... preko intimističkih tema stremeći ka spiritualnim pitanjima i dilemama.

Uspješno odoljevši banalnostima realističke ili naturalističke naracije u polju slike koja se često javlja kod sakralnih motiva, Ana Guberina kroz suptilno dinamički pokrenutu mrežu linija i mikrofragmenata progovara o sveprožimajućoj snazi ljubavi i duhovnosti u svim stvarima i svim razinama stvarnosti oko nas. Na tragu učenja teologa i filozofa Pierrea Teilharda de Chardina, i kod Ane Guberine svijet očito pokreće i čuva u ravnoteži Božja ljubav koja se rasprostire poput svjetla. Jer, nedostatak ljubavi snažno osjećamo kao i nedostatak svjetlosti, odsustvo boje, energetsko umrtvljenje. Zato su ova platna prožeta konstantnom frekvencijom pulsiranja i titranja koju održava beskonačna mreža gustih prepleta delikatnih linija.

Pa i kad se dogodi neka pukotina u emotivnom kôdu ili trenutak iskušenja, malaksalosti i nedoumice u sivom rasteru slike, to je brzo zaliječeno novim slojem pikturalne materije. Ovo slikarstvo kao da premošćuje sve teške intimne trenutke, iako od njih ne bježi skrivajući ih u neku utopijsku sliku savršeno izbalansiranog unutrašnjeg života. Ono govori o autentičnom iskustvu umjetnice koja intenzivno osjeća sve fine dimenzije stvarnosti. Uostalom, i u akcijskom slikarstvu Jacksona Pollocka postoji jedna razina spiritualnog kretanja linijâ preuzeta iz tradicije obrednih crteža Navajo šamana, kao što je i Mark Tobey svoje bijele apstraktne mreže linija usavršio nakon upoznavanja s učenjem zen budizma. Ana Guberina svakako je svojim slikarskim senzibilitetom bliža Tobeyu, koji je slikanje doživljavao kao oblik meditacije, duboko motiviran duhovnošću.

Ne zadržavajući se na doslovnom interpretiranju duhovnih i sakralnih motiva, Ana Guberina uspijeva pronaći vrlo delikatnu ravnotežu u kontrapunktiranju tema i modela slikarskog rukopisa. Svjesna kako danas svi živimo u izvjesnom zatvorenom ili ograničavajućem matrix- u, ona ipak uporno stremi ljubavi i povezanosti, kontemplativnosti koja želi nadrasti barijere svih emotivnih, religijskih i kulturoloških naučenih obrazaca.

Iva Körbler

 

gibanja i strukture

Sudeći prema dosadašnjim galerijskim istupima, koji su pretežno uključivali krajolike (nerijetko i na rubu apstrakcije) i religiozne motive, aktualni ciklus ‘Gibanja i strukture’ zamišljen je i započet kao odrešita odluka umjetnice da se hrabro otisne s one strane prikazivačkog u neomeđeno područje duhovnog i metafizičkog. Rasplamsalo žutilo i crvenilo koje je dominiralo prikazima ‘Ljeta na otoku’ na recentnim se je slikama udružilo s energičnim nanosima bijele i(li) crne boje u mrežaste strukture neobične izražajnosti i širokog asocijativnog raspona. Sama će umjetnica sugerirati neka moguća odčitavanja poput ‘mogućnosti nadnaravnog’, ‘materija i nematerija’, odnosno ‘odgovara li definiciji čuda, zapanjujuće zbivanje kao što je Veliki prasak?’.

Iz ovih autoričinih natuknica nije teško ustanoviti kako su eksplozijama slikarske energije, zabilježene gustim prepletima akrilika, prethodila podjednako intenzivna unutarnja promišljanja koja su pokušala dovesti u sklad kršćanski svjetonazor i suvremene teorije o nastanku i funkcioniranju svemira.

U tom smislu, sklon sam prihvatiti sugestiju likovnih kritičara Gorana Blagusa i Enesa Quiena koji su isticali autentičnu suvremenost kao ključnu odliku osobne poetike Ane Guberine, budući da i ova izložba svjedoči o samosvojnosti njenih promišljanja i doživljavanja suvremenosti kao i o umijeću iznalaženja sugestivnog likovnog govora. Mom prvotnom dojmu kako Ana Guberina gradi svoj osobni slikarski iskaz na temelju ‘povijesnog slijeda hrvatskog kolorističkog slikarstva marina, negdje na liniji Gliha-Dulčić-Murtić-Kuliš’ mogli bismo ovog puta pridodati i reference na neke doajene svjetske apstrakcije poput Jacksona Pollocka i Marka Tobeya; međutim, prvenstveno valja naglasiti kako je autorica do usporedljivih morfoloških rješenja došla slijedeći vlastiti stvaralački put. Ono što pritom ponajviše fascinira jest postupno usložnjavanje izvora nadahnuća, ali i slikarske moći s kojima se na platnu hvata u koštac s iskonskim pitanjima opstojnosti i stvaralaštva. Upravo stoga sam na početku ove pohvale misaonoj i slikarskoj ambicioznosti Ane Guberine iznio svoju dvojbu o mogućnosti preciznog definiranja stvaralaštva koje pred sebe svjesno ne želi postaviti nikakva duhovna ili metierska ograničenja.

Darko Glavan

about

The new cycle of paintings by Ana Guberina is a continuation of her previous research into gestural abstraction, but the abstract matrix of delicate lines suggests an extremely complex perception of reality. It is not abstract art which escapes the complexity of everyday life, and in which the artist detaches herself emotionally and mentally from reality, but a layered elaboration of several present dimensions of reality that we all feel intensely. Addressing certain eternal and universal themes such as love, closeness, spirituality and interrelationship of all living creatures in this corner of the Universe, Ana Guberina occasionally clearly shows a human being, clouds, planets…striving after spiritual issues and dilemmas across intimist subject matter.

Having successfully resisted the banality of realist or naturalist narrative in the field of painting which is common in sacral motives, Ana Guberina, through a subtle dynamic of a network of lines, speaks of the all-pervasive force of love and spirituality in all things and on all levels of reality around us. Following the teaching of Pierre Teilhard de Chardin, a theologian and philosopher, for Ana Guberina the world is obviously also set in motion and kept in balance by God's love which is dispersed like light. For we feel the lack of love as the lack of light, absence of color, numbness of energy. That is why a constant frequency of pulsation and vibration reflected by an endless network of tightly intertwined delicate lines permeates these canvases.

So even when an odd crack in the emotional code happens, or a moment of temptation, exhaustion or dilemma in the grey screen of the painting, it is quickly healed by a new layer of pictural matter. This art seems to be bridging all the difficult intimate moments, although it does not run away from them by hiding in a utopian picture of a perfectly balanced inner life. It speaks of an authentic experience of the artist who feels all the fine dimensions of reality intensely. After all, Jackson Pollock's action painting also contains a level of spiritual movement of the lines taken from the Navajo shaman ritual painting, just as Mark Tobey perfected his white writing after having studied Zen Buddhism. Ana Guberina's artistic sensibility is definitely closer to that of Tobey, for whom painting was a form of meditation and who was deeply motivated by spirituality.

Not dwelling on the literal interpretation of spiritual and sacral motives, Ana Guberina manages to strike a fine balance in counterpointing the themes and models of her brush stroke. Despite being aware that we all nowadays live in a certain closed or limiting matrix, she still persistently seeks love and interconnectedness, contemplativeness that wishes to transcend the barriers of all emotional, religious and cultural learned patterns.

Iva Körbler

 

motions and structures

Judging by Guberina’s earlier exhibitions, including predominantly landscapes (frequently on the verge of abstraction) and religious motifs, the current cycle of ‘Motions and Structures’ reveals the artist’s decisiveness to abandon representational art and bravely enter endless spiritual and metaphysical space. The blazing yellow and red that dominate the representations of the ‘Summer on the Island’ have joined forces with the energetic strokes of white and/or black to create net-like structures of unique expressiveness and wide associative span. The artist herself suggests some interpretations: ‘possibility of the supernatural’, ‘matter and non-matter,’ and ‘could the astonishing event such as the Big Bang be defined as a miracle?’

These brief notes instantly reveal that the explosions of creative energy, recorded in the dense mash of acrylic, ensue from equally intense contemplations which tried to reconcile the Christian faith with the contemporary theories of the creation and functioning of the universe.

In this respect, I am prepared to accept the suggestion of art critics Goran Blagus and Enes Quien. They emphasize ‘authentic contemporaneity’ as the key quality of Ana Guberina’s personal philosophy of art – this show is a testimony to the uniqueness of her contemplations and her experience of the contemporary moment. The both are expressed by her original and suggestive visual language. My original impression that Ana Guberina derives her personal painterly language from the ‘historical sequence of Croatian colouristic painting of marinas, somewhere on the line of Gliha-Dulčić-Murtić-Kuliš’ could now be supplemented by references to some doyens of abstract art, such as Jackson Pollock and Mark Tobey. Still, we should stress the fact that the morphology of Guberina’s paintings is the result of her own, unique creative quest. Her paintings fascinate us by the gradually evolving complexity of her inspiration and by her painterly power to deal with the primordial issues of existence and creativity. This is the reason why, beginning my praise of Ana Guberina’s philosophical and painterly ambition, I expressed my doubt that we could ever clearly define a creative effort which deliberately refuses all spiritual and metier limitations.

Darko Glavan

 

The Croatian artist Ana Guberina lives and works in Zagreb. She received a master’s degree after attending the College for Visual Arts in Ljubljana. In 2002, she received the Pasionska baština Award. She studied abroad at the Cité des arts in Paris and the University of California in the USA.

expressive works

Ana Guberina creates her acrylic paintings on canvas with vehement gestures that express her personal emotions. Her technique can be characterized as action painting as the artist uses the movement of her whole body. The paintings feature strong, powerful and joyful colors.

meaningful series

The work of Ana Guberina is organised into different series; the significant ones include “Summer on the Island“, where Guberina visually expresses joy and the harmony of the Mediterranean atmosphere. For example, the colors red and yellow represent summertime. In the cycle “Motions and Structures“ or “Coherence“ she tries to enter the endless spiritual and metaphysical space; furthermore, in cycles like "Your Face, O Lord, I Seek“ she contemplates the dialogue between man and God.

exhibitions

Ana Guberina’s paintings have been exhibited in forty solo shows and more than one hundred group exhibitions. Her paintings can be found in well-known Croatian galleries and private collections.

 

contact

 

Ana Guberina
ATELIER
Berislavićeva 18
10 000 Zagreb
Mob. 091 573 2972

Email: anaguberina@gmail.com