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Text from Francisco Sorribes


DEDIC DRAGO
    "Everything in this domain is linked to looking, touching, space, forms, colors, light. In this sense, painting constitutes a silent approach to the world and to things by transforming them through the very act of creation in a silence "jumbling" with words, meaning, expression. And in an operation of quasi alchemy, the mystery of what is not said receives no reply and even less of any kind of solution…At the most, there is a silent voice which reflects this original silence of the earth."…Merleau-Ponty
Drago Dedic's painting is permanently mobile. For him, painting has become the construction of space, space in movement. His work method and techniques are natural, but what he does has more to do with poetry which grows and blooms through the gestures of painting.
Dedic is a very professional painter who deeply shows us the polyvalence of his spatial perceptions. He shows us that realities become ambiguous when a certain level of knowledge has been attained. The dynamism of his interacting elements renders this ambiguity creative.
The invisible shines through the canvas and makes the spectator see things in another way. Dedic's "space" is an architectural space, like that of Cézanne. It is rigorously constructed. There is a sensation of pre-established harmony.
Dedic fits into Cézanne's famous statement: "everything in nature can be modeled with the sphere, the cone and the cylinder."
Dedic searches and digs to bring us the naked structure of space, the bones underneath the flesh of painting. He constantly reconstructs the total space of the sphere, the cone and the cylinder. The spectator finds the path indicated to open a way towards totality.
The artist's vision is permanently modified, rectified, re-organized by the tense inner energy which is modeling it. There are no pre-determined premises in his creative method. Knowing and doing merge. The painting is constructed with a movement of small strokes in which color organizes, separates, discovers, eliminates, advances.
This kind of construction obeys a dynamic fragmentation which constantly opens the possibility of engendering plans, tensions, vibrations, forms and vectors. The painting revolves, vibrates and gets deeper in a vision of appearances built with analogies; its power is multiplied, it increases in mystery.
Space is made total with all its virtual manifestations; space is therefore constantly the totality of all its dynamic relations.
With perfect mastery, Drago Dedic clearly shows that the painting of space becomes a cultural process which rigorously coincides with the act of creating. With each succeeding canvas, the painter continues the task of going deeper, of penetrating and excavating space. He never stops digging and searching in his quest to discover the inner structure of total space.
The vision of the artist is permanently rectified, re-organized, controlled by the geometric tension of a gigantic circle in movement, just like a creative poetic force of the world.
Often the sphere becomes the body of a woman and the force of grand, divine circulation assumes the totality of reflections in which the invisible becomes visible through evident and re-assuring poetic analogies. This is a quasi-mystic, divine, unifying, pantheist, mythic totality, just as it is in Spinoza's philosophical conception of nature.
The "Dedic" space always operates in a temporality in perpetual movement, in metamorphosis, in an open and fertile space like the space of Picasso.
"Often, I find myself inside the painting," says Dedic, "and I don't want to leave because I'm afraid I might crack the painting." The painter is a part of his work. He is necessarily implicated, surrounded by his creative work.
He can't get out of his painting. Painting is energy in action and the artist participates in this fire. A cosmic energy concentrated by the experience of the painter. An energy which is constantly expanding.
As Merleau-Ponty has so astutely remarked in "L'œil et l'esprit": "Painters recognize the metamorphosis of clairvoyance and the visible, of their mutual imbrication, and this is how they reveal the invisible and the texture of flesh which make objects and bodies hold together in the same world and take root in the same primordial and infinite Logos, the matrix of our perception. The essence and existence of the imaginary and the real, the visible and the invisible…painting blurs all our categories by deploying its oneiric universe of carnal essences, of efficient resemblances of silent significance.
Drago Dedic's brush makes the world "appear" in the sense that his painting renders the invisible silence of visible things. Through his art, there is something more than communication, there's "communion". In a way, he swallows the world and in a  process of alchemy he, so to speak, digests it for us. In this process of double birth, which he shares with us, Dedic shows us the true reality of the world. Dedic's painting invites us into another reality. It leads us into a rebirth, that is a birth to another dimension of understanding of the universe. With the painter, we share the inner vision of his canvas.
It is like Cézanne said: "What can you do, we don't paint souls, we paint bodies; and when a body is well painted…what the hell, the soul, if one is there, the soul shines-out and appears."
When Drago Dedic descends inside his painting, that is inside the depth of his work, he works the skin and the flesh of the world for us and with his multiple vision leads us to understand that the quality of the visible is to have a lining which is invisible, a poetic shaft which is another form of existential presence and which gleams in all great painting.

Francisco Sorribes



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Oeuvres exposées le : Ajouté le 5 juillet 2007