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Skulpture i crteži Petra Hranuellija Što razmišljam gledajući skulpture Petra Hranuellija? Gledam li najprije volumen, elemente forme, materijal iz kojeg su izrađene, površinu, morfologiju, utjecaje… ili me neodoljivo privlači njihova poruka, simbolizam i kontekst u koji umjetnik pozicionira ženu kao vječnu temu? Događa se upravo ovo drugo. Te dimenzijama male, ali iznimno moćno oblikovane skulpture žena, u punoći volumena i snazi s kojom je u njima zatočena energija oblikovanja, emaniraju na promatrača poruku o ženi kao ne samo vječnom vitalističkom principu, već otkrivaju Petra Hranuellija kao feminista u najčišćem značenju pojma, bez suvišnih ideoloških natruha. Mogli bismo reći kako autor motivu žene prilazi arhetipski, a mogli bismo jednako tako istaknuti kako je vrlo zanimljivo da u današnje vrijeme – kada svi drže dijetu ili imaju iskrivljene standarde o izgledu ženskog tijela – jedan umjetnik ponovno želi staviti u prvi plan arhetipski simbol plodnosti, obnavljanja života, ali i žene koja je postojana, stamena i otporna na sve životne nedaće i bure. Hranuellijeve skulpture žena ne može otpuhati niti velebitska bura, a kamoli da im može nauditi neki frustrirani pripadnik muškog roda. No, ovaj je skulptor dugo tražio i usavršavao svoj izraz, svjestan obvezujućeg i opterećujućeg konteksta velike tradicije moderne i suvremene hrvatske skulpture, posebice u kamenu i bronzi. U njegove oblike nisu ugrađene samo paleolitske Venere, simboli plodnosti dalekih civilizacija, barokne raskošne i putene ljepojke, već je umjetnik sam sebi postavio zahtjevnu granicu: u opsežnom stilsko-morfološkom vokabularu kojeg su nam ostavili hrvatski moderni i suvremeni kipari i kiparice, Hranuelli je percipirao i razumio kiparske probleme i rješenja – ili im je tek postao intuitivno blizak - Frana Krišinića, Ive Lozice, Koste Angelija Radovanija, Zvonimira Lončarića, Milene Lah, Velibora Mačukatina, Vjekoslava Rukljača i Marije Ujević-Galetović, ali ih nije prepisao. Hranuellijeve skulpture pokazuju pomno studiranje anatomije ženskog tijela i pokreta, iako na prvi pogled djeluju tako voluminozno: to što su punijeg volumena, ne znači kako je na kiparu lakši zadatak da ih volumenski i prostorno oživi i „pokrene“. Štoviše, taj je proces još zahtjevniji. Mramor i kamen iz kojeg izlaze Hranuellijeve žene iznimno je dinamiziranih površina i ploha, kao da ih je zaista oblikovala tisućljetna erozija vjetra i vode. One postoje još od prije svijeta – što bi se reklo – prije ove naše civilizacije, a toliko će trajati i u budućnosti nakon nas. U oblikovanju površine, kao i specifičnoj atemporalnoj morfologiji poput totema i simbola plodnosti, umjetnik iznimno pazi da ih pretjerano ne dorađuje, odnosno, pomno ih usavršava, ali pazi da svaka mala forma ostane sačuvana kao da je dio prirode ili svojevrsni u prirodi pronađeni objekt (objet trouvé) ma koliko to nekomu u interpretaciji i kontekstualizaciji zvučalo pomalo bizarno. U ideji kako su žene dio prirode, i često po mnogim parametrima bliže njoj od muškaraca, Hranuelli ne pretjeruje, već ju odlično balansira kao poruku svojih skulptura. Crteži u tušu na bijelom papiru mogu biti shvaćeni kao predlošci za skulpture, ali jednako tako kao samostalna likovna slika i artefakt. Oni su jednostavni, čisti i nepretenciozni, i u svojoj voluminoznosti izazivaju tiho poštovanje. No, uvijek ćemo u Hranuellijevim crtežima ženskog tijela zapaziti nježnost i određeno strahopoštovanje pred time koliko je žensko tijelo zapravo vrlo moćan stroj. Ponekad smo zaista bliže vodama, zemlji, vjetru i fazama Mjeseca, nego ostatku naših muških polovica, a taj fenomen Petar Hranuelli iznimno senzibilno prepoznaje i utiskuje u svoje crteže i skulpture. Iva Körbler Centar za kulturu Čakovec 21. ožujka – 8. travnja 2019. Petar Hranuellis` Sculptures and Drawings What am I thinking when looking into Petar Hranuelli sculptures? Do I first look at the volume, elements of the form, material from which they are made, surface, morphology, influences… or am I impudently attracted to their message, symbolism and context in which artist positions woman as infinite theme? The second mentioned is actually becoming more prominent. These, in size small but extremely powerful sculptures of women, in the fullness of volume and power with which the energy of shaping is trapped in them, emanate to the observer the message of woman as not only an eternal vitalism principle, but reveal Petar Hranuelli as a feminist in the purest sense of the term without superfluous ideological hints. We could say that the author approaches the theme of woman archetypically, and we could also point out that it is very interesting that nowadays – when everyone is on a diet or has distorted standards on the appearance of the female body – one artist wants to once again highlight the archetypal symbol of fertility, renewal of life, and also a woman which is persistent, staunch and resistant to all life´s adversities and storms. Hranuelli`s sculptures of women cannot be blown away by the “Velebit`s bura (strong wind)”, and moreover cannot be harmed by male frustration. On the other hand, this sculptor has long sought and brought to perfection his expression, aware of the binding and burdensome context of the great tradition of modern and contemporary Croatian sculpture, especially in stone and bronze. Bot only Paleolithic Venus, symbols of fertility of distant civilizations, baroque lavish and sensual beauties are embedded in his forms, but the artist set a demanding limit for himself: in the extensive stylistic and morphological vocabulary left to us by Croatian modern and contemporary sculptors, Hranuelli perceived and understood sculptural problems and solutions – or he has just become intuitively close to them – Fran Krisinic, Ivo Lozica, Kosta Angeli Radovani, Zvonimir Loncaric, Milena Lah, Velibor Macuatin, Vjekoslav Rukljac and Marija Ujevic – Galetovic, but he did not transcribe them. Hranuelli`s sculptures show a careful study of the anatomy of the female body and movement, although at the first glance they seem so voluminous: the fact that they are fuller does not mean that the sculptor has an easier task to revive and “move” them in volume and space. Moreover, this process is even more demanding. The marble and stone from which Hranuelli`s women emerge are extremely dynamic surfaces and surfaces, which as if they were really shaped by millennial erosion of wind and water. They have existed since before the world – so to speak – before this civilization of ours, and they will last as long in the future after us. In shaping the surface, as well as specific non-temporal morphology such as totems and fertility symbols, the artist is extremely careful not to overwork them, in other words, he carefully refines them, but makes also sure that each small form or surface is preserved as if it were part of nature or a kind of object found in nature (objet trouve) no matter how somewhat bizarre it may sound to someone in sole interpretation and contextualization. In the sole idea that women are a part of nature, and often in many parameters closer to her than men, Hranuelli does not exaggerate, but balances it perfectly as the message of his sculptures. Drawings in ink on white paper can be understood as templates for sculptures, but equally as a stand-alone painting and artifact. These are simple, clean and unpretentious, and in the volume evoke quiet respect. But we will always notice in Hranuelli`s drawings of the female body tenderness and a certain awe at how very powerful the female body really is. Sometimes we are really closer to the waters, the earth, the wind and the phases of the Moon than to the rest of our male halves, and this phenomenon Petar Hranuelli extremely sensitively recognizes and imprints in his drawings and sculptures. Iva Körbler Centre for culture, Cakovec, Croatia March 21 st – April 8 th , 2019 |
