To Joseph Marin (1954), his paintings mean something that contains a part of him, a part of his essence, a pulse of his energy and a seal of his identity. If we look beyond purely design features that are authentic and personally defining, in the titles of his works we most often find suggestions related to nature.
In this perspective, we can see continuity in his creation, even if this time the exhibited works go beyond any definition of expressive medium, art genre and even art. Even the conceptuality of the installation is too limiting, because it completely suppresses comfort and visual harmony in favor of the effectiveness of the expression of the idea: it puts rational perception above emotional. Marinch does not give up visual effects as the primary means of communication at any cost, but he urges the viewer to help the work of art work as he intended it. He put together a series of projects that he considers “postponed”, for those that, for various reasons, did not reach the public, but are part of his laboratory, alchemical workshop and art rattlesnake, in which they were born as extraordinary ideas and ideas, but for them the visually accessible two-dimensionality of the painting alone was not enough, because the painter wanted to provoke the viewer's physical participation.
Photo By Matej Jordan
Jožetu Marinču (1954) njegove slike pomenijo nekaj, kar vsebuje del njega, del njegovega bistva, utrip njegove energije in pečat njegove identitete. Če pogledamo preko zgolj oblikovnih značilnosti, ki so avtentične in osebnostno določujoče, v naslovih njegovih del najpogosteje najdemo sugestije, povezane z naravo.
V tej perspektivi moremo videti kontinuiteto v njegovem ustvarjanju, četudi tokrat razstavljena dela presegajo vsakršno definicijo izraznega medija, umetnostne zvrsti in celo umetnosti. Še konceptualnost instalacije je preveč omejujoča, ker povsem potlači ugodje in vizualno harmonijo v prid učinkovitosti izraza ideje: racionalno dojemanje postavlja nad čustveno. Marinč se vizualnim učinkom kot primarnim nosilcem komunikacije ne odpove za nobeno ceno, nagovarja pa gledalca, da pomaga umetnini delovati tako, kot si jo je zamislil. Sestavil je vrsto projektov, ki jih ima za “odložene”, za takšne, ki iz različnih razlogov niso dosegli javnosti, so pa del njegovega laboratorija, alkimistične delavnice in umetniške ropotarnice, v kateri so se porojevali kot izjemne ideje in zamisli, a jim samo vizualno dostopna dvodimenzionalnost slike ni zadostovala, ker je slikar želel izzvati gledalčevo fizično sodelovanje.
Foto: Matej Jordan
