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SOLDIERS, 2014 Painting

Bostjan Jurecic Alluvio

Slovenia

Painting, Acrylic on Canvas

Size: 126 W x 86.6 H x 0.8 D in

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About The Artwork

Painting of soldiers in a lush forest... PAINTINGS 2014 Q: Painting has been declared dead many times since the rise of photography, but it seems that it didn't have its last say yet. A: As much as I have followed, since the rise of photography painting has been declared dead every ten years. But for me, the most interesting time in painting was the 20th century, when by definition it should have been dead already a long time. It renews itself periodically. There is no progress in art so painting does not move towards something. If painting and art should become something else, somebody must tell me what that 'something else' is supposed to be. No one has come forward so far. I think even that at some point machines will become very intelligent, they will paint like humans or even better. Homo sapiens will go extinct. Nothing horrible really, we will progress into something else as species. Like in the past it was from homo erectus to homo sapiens… And in this case art will continue through some other, mechanic species. Interview in Primorske Novice daily newspaper, end of September 2014. The way Jurečič produces his images gives an impression and appearance that separate him from 'clean' or usual painting in that he pours and expands his figurative form and the script of the painting into layered parts and paragraphs into layered imaginarium, which is both hidden and obvious. 'Background' layers, leaves in forms of spears, mossy forms that cover the surface of the canvas intensify this duality of hidden-obvious…Some kind of murky, watery magma pours from the faces and human forms, some kind of acidulous liquid, that cocoons states and forms of the painting. Transparent and slippery net, network, envelope, label for the eye, that provides internal-external buoyancy for the tissue of the painting…that gives the painting new authentic meaning. All of this with a unique, original gesture, that grinds, melts, breaks and brings together the images into singular experience. Andrej Medved, curator of the show at Monfort Gallery/Coastal Galleries, end of September 2014 »After we have established that sonic parallels to Warhol, Koons, Hirst are Michael Jackson, Britney Spears, Lady Gaga respectively, we have to ask the important question: how did it come to this confusion. Why do some deem Hirst & Co. great artists, others 'kitsch merchants' and there are no in between positions. The answer is simple: in the same way they have been adding production to the trivial music of the 20th century, in the same way they have been adding text to the trivial visual arts of the 20th century. This means that you can add text to Hirst's art claiming him to be contemporary Rembrandt, whereas you cannot produce Lady Gaga over into contemporary Beethoven.«

Details & Dimensions

Multi-paneled Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:126 W x 86.6 H x 0.8 D in

Number of Panels:2

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Mobile ph.: +386 41 652158 ----------------- Email: bostjan.jurecic@rtvslo.si ------------- Painter, art theorist, journalist born 1969 in Ljubljana, Slovenia. This is all of my art production so far displayed in no chronological order. I try to maintain strict quality control so I destroy more then I preserve. There are also several video clips about my work available on my YouTube channel. I was the worst student Ljubljana's Academy of Fine Arts could ever have. I barely passed the last year with the lowest grades. After finishing studies I wanted to drop art altogether. I got a job at the national TV of Slovenia where I still work as a journalist covering visual arts, architecture, comics, classical and contemporary music etc. After the millennium I started painting again. At first under strong influence of Basquiat, whose show I saw in Trieste at the end of the nineties. Actually it was Basquiat's show that pushed me back again into producing art. After 2003 I wanted to get rid of Basquiat's influence. So, one time I carried this one piece that had again been done in his style under water, while it was still wet. Water partially washed the image away. There was a silent scream in my head: "Look how the image dissolves." Washing the images away with water became my dominant painting technique. There were a couple of series of paintings made between 2004 and 2006 using this technique in a variety of ways. Between the beginning of 2007 and the beginning of 2010 there was a pause though. I was trying to expand on this idea and technique but wasn't successful. I realized later that I was trying too hard to show my invention as such. In early 2010 I came up with the necessary evolution. Since then, my work procedure can be described as follows: I make an image with paint. I then wait a couple of minutes till some of it has dried. I then wash the image away with water. Patches of paint remain, of course. I then repeat this procedure with another paint until something gets formed out of patches. Why is all of this important? This procedure of mine gets me beyond simple illustrating. It makes the onlooker feel as if the images got on the canvas all by themselves. At work with TV Slovenia I have been since 2012 engaged in writing a widely read and commented column on contemporary art. I am also active in the field of art theory. I developed an original theory of and on the parallels between visual art and music.

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