LIKOVNI SVIJET IVICE ČAVAR
(Jedan pogled)
Ciklusi Poljetno jutro i Sunčani dan slike su interieura kojima dominiraju ljudske figure i figure predmeta koji pokazuju neku vrstu sraslosti s bojom ambijenta, s ambijentom koji samo naizgled nema dubinu. A izvor svjetlosti koji oživljava cijeli ambijent uvijek se sluti. On je taj koji formira likove i oblikuje cjelinu prostora, njegovu dubinu, što je gotovo nevjerojatno budući da Čavar koristi jake, pastelne, intenzivne boje u plohama koje nam sugeriraju ambijent razložen na njegove sastojnice. Čavarova je slikarska gama zasnovana na snažnom kontrastiranju intenzivno crvenog i žutog naspram nešto zatvorenijeg tonaliteta. Unutar te, ipak stišane kromatske drame, život interieura oblikuju likovi (ženski) u pokretu, i premda „obezličeni“, oni intenzivno žive svoje jutro (u prvom ciklusu!), neku svoju sabranu šutnju i nijemost iskazivu samo jakom dramskom gestom (što je središnji motiv ovih slika), susreta ili rastanka, spremanja ili jutarnje toalete, naprosto konkretnosti života.
Premda gledamo život u isječku, identificiramo u njemu neku čudesnu sjetu, neku paučinu magije koja interieuru daje mističnost iščekivanja. Likovni prostor je ispunjen tenzijom što ju stvara posebnost kompozicije, što ju čine međusobni odnosi likova ili odnosi likova i stvari, a i to opet sve u odnosu na neki magijski ili stvarni izvor svjetlosti. Snažan kolorit i iznimno ekspresivna orkestracija Čavarovih boja magnetski nas privlače, usisavaju nas u atmosferu prostora ili same slike čijim dijelom lako postajemo, budući da slikari snažnog kolorizma, kakvima Čavar nedvojbeno pripada, imaju tu magijsku moć nad nama, čak i onda kad je naš senzibilitet i umjetnički temperament posve različit od njihova.
Za razliku od Proljetnog jutra, ciklus Sunčani dan ima snažnije, svjetlije, životvornije, recimo – intenzivnije boje. S njima kao da u prostor prodire više svjetlosti, a svjetlost je ta koja likove iz jasnih obrisa pretvara u karaktere, pa Čavarovi likovi postaju osobe, već imaju ili dobivaju „karaktere“. Energija boje ispunjava prostor slike, koncentrira atmosferu negdje između likova i objekata, na nekom neodređenom mjestu iz kojega izbija slutnja, drama očekivanja, gdje se vizualizira drama ambijenta, koje, te drame, dakako, nema bez ljudskih likova, bez dinamike koju oni posuđuju čak i krajnje statičnim motivima.
Čavar kao da tretira nekom vanjskom intervencijom zaustavljene kadrove, neponovljive ne samo u gestualnim odnosima nego i u svjetlosnoj vibrantnosti sugerirajući nam tako da je pred nama svijet koji je svu svoju čulnost na tren ustupio zgusnutom trenutku likovnosti. Poslije toga će, toga zgusnutog trenutka likovnosti, ako ga uopće više bude, sve opet poteći tijekom svakodnevice, jer slikar ostaje slikar čarolije svakodnevnoga, svakodnevnoga uhvaćenog u fragmentu., u zaustavljenom trenutku.
Zapravo smo mi u ove slike i privučeni snagom svakodnevice, koja, međutim, ekspresijom izvedbe nije nipošto sama svakodnevna. Oneobičeni likovni svijet Ivice Čavara je jednako i fizički i duhovno stvaran. To antagoniziranje svijeta koji prepoznajemo i svijeta za kojim žudimo u ovim slikama dodiruje našu dihotomijsku intimu, pa Čavarove slike, kao nositelji slikareve intime, duboko diraju naše emocionalne registre.
Jedan temperamentan, pa ipak stišan likovni rukopis, što ga Čavar posjeduje i suptilno njeguje, nosi u sebi i duboko kultiviranu melankoliju. To njegova djela, dodatno, čini tako otvorenim za recepciju i tako bliskim našim receptorima. Jednako se to, osobito u kolorističkom smislu, može reći i za Čavarov Križni put, gdje lik Krista izranja iz toplih boja, pa se sva drama što je nosi simbolika križnoga puta negdje sublimira u eksploziji boja koja kreće s Kristova lika. Sublimira? Usvari, oživljuje u nekom novom likovnom rukopisu, a s njim i u nekom novom simboličkom značenju. Tu je simboličko važnije od stvarnosnog, jer tako naprosto ima biti.
Nije, dakako, bitno drukčije ni u Tragovima povijesti, u kojima se autor nadahnjuje stećcima, motivima sa stećaka i njihovom simbolikom. Na tim slikama autor likovno oblikuje stećke, pa ipak više od njih – motive što ih taj mikrokozmos ima, a gdje slikar dominantnim motivima sa stećaka daje bitno novu likovnu vizuru i s njom novu simboličku snagu. Naime, na svojim je stećcima Čavar kolorirano, također veoma intenzivno, živim vatrenim bojama, re-kreirao sve one najfrekventnije motive sa stećaka dajući im mnogo više živosti i pokreta negoli ih stećak u svojoj plastičnosti sam ima, sam nosi, sam prezentira. To intenziviranje, ekspresivno akcentiranje simbolike najfrekventnijih motiva sa stećaka, učinilo je Čavarov stećak razigranijim, nekako životnijim, koloristično dinamičnijim, pa stećci izgledaju kao da su isklesani u slavu živih, u slavu igre i života, životne radosti, za razliku od autentičnih poruka sa stećaka koje su prvenstveno opomena i upozorenje pred smrću i u povodu smrti.
ART WORLD OF IVICA ČAVAR
(One View)
The cycles ‘Spring morning’ and ‘Sunny day’ are paintings of interior which are dominated by human and object figures that show some kind of fusion with colour of the surroundings, the surroundings which only seemingly have no depth. And the source of light that revives the whole ambient is always sensed. He’s the one that forms the characters and shapes the whole space, its depth, which is almost incredible since Čavar uses strong, pastel, intense colours, which suggest the ambient broken down to its integral parts. Čavar’s painting scale is based on strong contrast of intense red and yellow opposing the more closed tonality. Inside of that, quieter chromatic drama, the life of interior is being shaped by figures (female) in movement, and although ‘faceless’, they intensely live their morning (in the first cycle!), and with only a strong dramatic gesture they show their collected silence (which is the present motive of these pictures), meeting or separation, getting ready, or simply their point of life.
Although we see life in a segment, we identify a strange melancholy in it, some web of magic which gives the interior the mysticism of expectation. The art space is filled with tension created by the particularity of composition, which is made by correlation of characters, or characters and things, and yet, all that in contrast to some magical or real source of light.
A strong coloration and extremely expressive orchestration of Čavar’s colours magnetically pull us into the atmosphere of space, or the painting itself, whose part we easily become of, since the artists of strong coloration, like Čavar obviously is, have that magical power over us even when our sensibility and art temper is completely different than theirs.
In contrast to ‘Spring morning’, the cycle ‘Sunny day’ has stronger, brighter, livelier, and let’s say – more intense colours. With them, it seems like more light enters the space, and the light is what makes the characters so sharp, so that Čavar’s characters become persons and get their own unique ‘characteristics’. The energy of colour fills the space of the painting; it concentrates the atmosphere between characters and objects, in some undetermined place where foreboding arises, the drama of expectation, where the drama of the ambient is visualised, and which wouldn’t exist if it weren’t for the human characters, and without the dynamics which they give even to extremely static motives.
It seems like Čavar treats stills with some kind of outside intervention, unique not only in flamboyant relations but also in vibrant light, suggesting that there is a world in front of us which, just for a moment, gave its whole sensuality to the condensed moment of art. After that, that condensed moment of art, if there is any left at all, everything will float into the river of everyday life, because the artist remains the painter of the magic of every day caught in a fragment of a still moment.
We are actually drawn into these paintings by the strength of everyday life, which, however, is not ordinary by its performance expression. Unusual art world of Ivica Čavar is equally physically and spiritually real. That antagonising of the world we recognize and the world we crave for in these paintings touches our bifurcation intimacy, so Čavar’s paintings, as the bearers of artist’s intimacy, deeply touch our emotional registers.
Full of temperament, and yet quiet artistic signature, which Čavar owns and cherishes subtly, carries in it a deeply cultivated melancholy. That makes his work so open for acquisition and so close to our receptors. The same can be said about Čavar’s ‘The Way of the Cross’, where the image of Christ emerges from warm colours, and all the drama carried by the way of the cross is somewhere sublimed in the explosion of colours which starts at the image of Christ. Sublimes? Actually, it revives in some new artistic signature and, with it in some new symbolic meaning. There, symbolic has more meaning than real, because that is its essence.
Of course, it’s not much different in ‘The trail of history’, in which the author is inspired by tombstones, their motives and symbols. In those paintings, the artist shapes tombstones, especially – the motives that are shown in that micro cosmos, and where the artist gives essentially new artistic view with dominant tombstone motives and with it a new symbolic strength.
Namely, in its tombstones Čavar colourfully and intensely, with fiery colours, recreates all the most frequent motives of the tombstones giving them more life and movement than tombstones have their selves. That intensifying and expressive accentuating the symbolic of the most frequent motives makes Čavar’s tombstone more playful, livelier, dynamically colouristic, and so they look like they have been made in glory of the living, in celebration of life and games, life joy, which is completely opposite from the authentic messages from the tombstones which were, in the first place, an admonition and a warning before and about death.
Sarajevo, Svibanj/May 2011. Željko IVANKOVIĆ
