Zoran
Bosnien und Herzegowina
Kunstart: Malerei
Technik: Mischtechnik
Stil: Abstrakt
Statement:
Statement - Zoran Crncevic
I exhibited in the UK, Austria, and in the Balkans. My work relates to disposition and transformation of insignificant objects. I started transforming furniture, wooden boxes and newspapers for my artwork in 2002, while I was studying Fine Art at the Wimbledon College of Art, the University of the Arts London. In 2011, a friend of mine gave me a canvas that another artist used for drying an excess oil paint from her brushes. Instead of painting something on it and destroying the original look of the splatter of paint, I rotated the canvas 90 degrees clockwise and hang it on the wall as a painting. In the following months, I painted an Art Deco cabinet in a reference to the painting, and moved forward into using furniture to paint on. Through the painting process, I do not make of wardrobes, closets, cupboards, chests, drawers, dressers, cabinets, tables, and chairs what they are not. The paint on the surface does not have a subject, object, or matter. It does not symbolize or represent. It is just as it is. It is the process of layering paint and perception of the paint. It is about the color, depth, balance, and composition. The work is continuous, uninterrupted, three-dimensional, and does not have a meaning, scale, or size. Fronts are painted in the same way as are the backs, tops, and sides. If I was asked a question: “What does the paint represent?”, my answer would be: “It does not represent, it is a piece of furniture, can’t you see?”. If I was asked a question: “Why furniture, why don’t you take any other object to paint on?”, my answer would be: “If I use another object to paint on, I would risk that the object would be perceived as a piece of art, in the same way in which a painted canvas on the wall is perceived to be the painting”, and I would not like that to happen. A piece of furniture I painted becomes an art by the context given to it.
My work has been influenced by artists such as Joseph Beuys, Richard Long, Andy Goldsworthy, Doris Salcedo, Ad Reinhardt, and Mark Rothko, to name just a few.
April 6, 2016
Vita / Lebenslauf:
Short biography - Zoran Crncevic
I was born in in Banja Luka, Bosnia and Herzegovina. During my teenage years, I was highly influenced by Alojz Curic, famous painter and legendary art tutor. At the two-year foundation course in Drawing and Sculpture, Slobodan Dragas, a leading Bosnian sculptor, helped me prepare for Visual Art studies. After starting my studies at The Faculty of Arts in Pristina in 1997, I graduated in 2003 from the Wimbledon College of Art, London, UK, with BA (Hons) in Fine Art (Sculpture), thankfully to financial support from sculptors from the Royal Society of British Sculptors. I had seven collective, and one solo show in London. Several of my drawings form a part of the Trinity College of Music art collection. I also ran a portrait sculpture workshop within the “About Face” exhibition in Museum in Croydon, where the work I made was included in the exhibition with works of Henry Moore, Elizabeth Frink, Tracey Emin, and Jacob Epstein. From 2004 until 2014, I did several exhibitions and performances with the Museum of Modern Art of Republic of Srpska. In October 2006, I was awarded 3 months long art residence in Vienna by KulturKontakt Austria, and in 2015 my artwork was featured in Kulturkontakt Art Magazine.
My work has been influenced by artists such as Joseph Beuys, Richard Long, Andy Goldsworthy, Doris Salcedo, Ad Reinhardt, and Mark Rothko, to name just a few.
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Statement - Zoran Crncevic
I exhibited in the UK, Austria, and in the Balkans. My work relates to disposition and transformation of insignificant objects. I started transforming furniture, wooden boxes and newspapers for my artwork in 2002, while I was studying Fine Art at the Wimbledon College of Art, the University of the Arts London. In 2011, a friend of mine gave me a canvas that another artist used for drying an excess oil paint from her brushes. Instead of painting something on it and destroying the original look of the splatter of paint, I rotated the canvas 90 degrees clockwise and hang it on the wall as a painting. In the following months, I painted an Art Deco cabinet in a reference to the painting, and moved forward into using furniture to paint on. Through the painting process, I do not make of wardrobes, closets, cupboards, chests, drawers, dressers, cabinets, tables, and chairs what they are not. The paint on the surface does not have a subject, object, or matter. It does not symbolize or represent. It is just as it is. It is the process of layering paint and perception of the paint. It is about the color, depth, balance, and composition. The work is continuous, uninterrupted, three-dimensional, and does not have a meaning, scale, or size. Fronts are painted in the same way as are the backs, tops, and sides. If I was asked a question: “What does the paint represent?”, my answer would be: “It does not represent, it is a piece of furniture, can’t you see?”. If I was asked a question: “Why furniture, why don’t you take any other object to paint on?”, my answer would be: “If I use another object to paint on, I would risk that the object would be perceived as a piece of art, in the same way in which a painted canvas on the wall is perceived to be the painting”, and I would not like that to happen. A piece of furniture I painted becomes an art by the context given to it.
My work has been influenced by artists such as Joseph Beuys, Richard Long, Andy Goldsworthy, Doris Salcedo, Ad Reinhardt, and Mark Rothko, to name just a few.
April 6, 2016
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Painting No. 6 - signed and numbered by the artist
Malerei
Mischtechnik
72 x 90 x 48 cm
2016
Preis: 1.300 Euro
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