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Bēhance

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Painting is my primary practice, though I tend to experiment in various media. I build my paintings as dreamlike visions, focusing on the importance of childhood and children as the newly awakened generation. I like to see my work as the pass to a transhistorical world.

Contact me... - vanja.trobic@gmail.com
I graduated Painting at the Academy of Fine Arts, Zagreb 2012.

Until now, I held four solo shows, and took part of many group shows and various festivals and workshops....
Iva Potočnik - FROM THE ORIGIN:

* For exhibition "Overlaps" with L.Herceg and S.Đurinec


Although they have contemporary art world-view, three young authors have focused their creative energy to research the past - the universal, collective, and that of individual, intimate character. Wondering tr… Read More
Iva Potočnik - FROM THE ORIGIN:

* For exhibition "Overlaps" with L.Herceg and S.Đurinec


Although they have contemporary art world-view, three young authors have focused their creative energy to research the past - the universal, collective, and that of individual, intimate character. Wondering trough layered visual language in order to create visual link between the art forms and the individual, artists create unusual dimension in which they primarily find their own identity. In space they form these dimensions in a final way, as the current view of the origin of their inspiration. By combining the techniques they question the dialogue between real and surreal, and between what we mean now and what we meant before. An intensive search for affirmation of the individual to totality moves through the various techniques of surface decomposition, the construction of plastic masses, or the revival of unidentified characters. Eternal artistic concern – quest for the lost time is viewed through the prism of younger generation aware that without a genuine context, there is no proper motion.
Vanja Trobić focuses on the problem of individual identity in the environment. Observing times we live in as a phase in which materialism dominates over spirituality, artist works through a set of questions: what am I as an isolated individual, and what as an integral part of society? Collective responsibility in seeking answers is just one of the key problems in fast pace of life? Combining multiple canvases of different colors, and collages of various characters, the author penetrates the membrane of existential crisis and enters into the field of artistic limbo. In this area disorientation of lonely figures on the canvases without spatial deepness remaines unattainable. They are unidentified, lost in cold coloured surfaces on the track between childhood and adulthood, thereby distracting the viewer into a mystical world of inspiring dreams.

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Petra Tomljanović - FAMILY PORTRAIT / OBITELJSKI PORTRET:

In his text Camera Lucida, Barthes says that photography, as the only material evidence of irreversible past, derives its power and its cultural importance by being deeply rooted in the traditional role of the family. However, he is aware that there is something in photography completely inaccessible - such as the inability of the reconstruction of the physiognomy and habits of referents. Function which is in the process of constructing identity taken over by a family album / portrait, testifies about our attachment to representational forms and acceptance of cultural codes. Can photography function like a personal reminder of the loved ones? Is it really able to reconstruct our image of these people, does it really strengthen our memories of specific events or simply prove that they occurred, sometimes at personal history?
Vanja’s intimate act formed in series of 50 personal memories / family portraits, “going out” to public space, turns out just as deconstruction, stripping and playing with the cultural codes. People, animals and objects that were in her life were the carriers of individual memories, identities, are now becoming actors of a new reality. Their poses, on the other hand, belong to universal rhetoric gestures, conventions that define the ways in which the photography had to be performed. Using family photos as templates for kind of remembering exercise, Vanja takes “photos” again. She does it almost literally, using the media of analog photos, which she then scannes and digitally restructures. She manipulates their faces, hiding their sights primarily through the grid point (“because the eyes are the mirror of the soul").
The sight is the most important segment: view between the camera and subjects; mutual views of the characters; sight between the observer and photos - all becomes questionable by this simple intervention. In this way, works get almost industrial texture, like the mass produced images. Deleting the identity then becomes a reference point, more tangible than real characters. Identity is fluid anyway, unmarked, manipulative. It is a process that examines not only the concept of the family, but examines already established forms of representation. Therefore, Vanja provides a new framework for family portraits, not the golden one, but the framework of her own interpretations. Read Less
Member Since: Mar 30, 2012