The Touch of a Child
Child: “Draw me a city”.
Artist: “Here you are”.
Child: “…a city for my classmates and my friends: Amazonian trees, polar bears,
spumy whales, and… Sharks! The Sharks change their teeth several times in
lives, you know. My buddy Joël has recently lost his tooth, you see.
Artist: “Not really”.
Child: “Than you are not like us”. He states with disappointment.
Artist: “ Of course, I changed mine a long time ago. I’ll swap them again later on with
those not natural.” He looks at me delighted.
Child: “Draw me a city. We would like some space and freedom”.
Artist: “You dislike this one?”
Child: “There is no sun at all. Your city is gloomy.”
Artist: “It has appealing looking buildings with nice facades.”
Artist: “Face of a house.”
Child: “We paint our faces at school for holidays. Can I apply makeup to the houses
of your city?”
Artist: “ Would you like?” He nods. “Here are my pigment buckets.” He dips his
hands into paint and starts scattering colorant of his fingertips.
The city changes straight away…
Enfant: « Dessine-moi une ville ».
Peintre: « La voilà ».
Enfant: « …une ville pour mes camarades de classe et mes amis : arbres amazoniens,
ours polaires, cachalots, et…Requins ! Tu sais, les requins changent de dents
plusieurs fois dans leur vie. Une dent de mon copain Joël est tombée
récemment, tu vois. Les tiennes, elles bougent ?»
Peintre: « Pas vraiment. »
Enfant: « Tu n’es pas comme nous, alors. » Il constate avec la déception.
Peintre: « Si, j’ai changé mes dents, il y a long temps. Je vais les remplacer encore,
mais plus tard, avec celles pas naturelles. » Il me regarde enchanté.
Enfant: « Dessine-moi une ville. Nous aimerions de l’espace et de la liberté. »
Peintre: « Celle te déplaît ? »
Enfant: « Il n’y a pas de soleil. Ta ville est sombre. »
Peintre: « Elle a de beaux immeubles avec de jolies façades. »
Enfant: « Façade? »
Peintre: « Le visage d’une maison. »
Enfant: « A l’école, nous mettons de couleurs sur la figure pour les fêtes. Je peux
maquiller les maisons de ta ville ?»
Peintre: « Tu veux ? » Il opine de la tête. « Voici mes seaux de teinture. » Il trempe
les mains, et commence à disperser la teinture des bouts de ses doigts.
Aussitôt, la ville change…
Auteure : Jovana Hinic Rackov Genève, le 23 février 2015
As our project progresses, lots of interesting people are contacting me and want to be one of the “People of the City”. So, would I like to introduce to you, Charles Crump and the part of his story that he shared with us.
The feeling I got from your video, was very close to the feeling, I received, the day I fell in love with art, two years ago.
I have a lot to learn.
Here’s a little about me.
Trouble in Home, School, and Community, resulting in Fighting, trouble with the Law, and the biggest struggle of them all Depression.
What a blessing.
I started a new series with the larger main figure images. Previously those were city landscapes with people that are small in this detailed structures, measuring their existence through limited visual scales in comparison with a big picture. They represent only fragments of this city.
What I find out with practice is that, when you work with your friends, family members and models, it becomes too predictable what a person is thinking when she or he is looking at some particular scene because I know them.
As this factor of mystery and the unknown is important for me, I knew that I’m at a lack of human figure models. So, I got this idea where I have to find new people, interested in art, that I don’t know personally and we could interact in this familiar but yet strange world, together. After I posted few art calls on a Craigslist I received few feedback but the first and the most interested was from Vincent.
Here comes the part of his story. Thank you Vince 🙂 you inspired me greatly. Your first piece is ready.
I viewed your Craigslist post this morning. Your project has a powerful concept. I am a seventy year old man. I never lived in New York, yet my life depends upon that city.
My earliest memory of that city is of looking out at the Statue of Liberty from my brother’s apartment in Brooklyn Heights. I was eighteen. My grandmother, who was eighty-eight, stood next to me. In Italian she said to me, “I never thought I would see her again.” Suddenly all of those stories in history class about the migration of Eastern Europe to American became real. In my early thirties, I again returned to the city to visit my brother. He met me at Port Authority. We took the A Train to Brooklyn. On the train he was very concerned about my feelings. He said, “Are you OK.” He thought I was scared. I was in awe. The subway train was covered inside and out with bright colored graffiti.
I asked who painted these train cars. What I saw was fantastic art. He smiled and told me that young people snuck into train yards at night to spray tag their art over the cars. This fantastic work was not considered as art. Today all of that is gone.
Most important about this city, it protected me and enabled me to be the man I am. Last year I attempted to tell a little of my story in a blog by Kevin Truong. http://thegaymenproject.com/2014/02/07/vince-english-teacher-new-york-city/ I am a Gay man. My story is no different from that of many others in New York and elsewhere. But my story begins in New York and continues there. I survived an epidemic which took all of the people I loved. My older brother, a Gay man and a true New Yorker, died five years ago. But since his death I found a way to keep returning to the city that gave me life. Three years ago I began to answer posts by artists and photographers. A funny thing happened. I became involved in many art projects and met talented and energetic young people who wanted me to be part of their work. It is a fantastic journey. I truly love New York and its people.
If you feel that I can in some way be useful to your project, I would be glad to participate. I am at the end of my life cycle. Life has been good because of this city.
Before I responded to your Craigslist post, I researched you and your work. Your work is beautiful and your talent is amazing. Speaking honestly and openly to you was easy. I feel your project is important, and I have nothing to hide.
I feel honored to be included in your work. It’s exciting and wonderful.
Tue, 02 Dec 2014 17:22:31
Over the past week I got a chance to talk with contemporary artist Marko Gavrilovic of Belgrade, Serbia. Although it was via online, I could tell he had an optimistic spirit waiting for the world to see his masterpieces. He founded the Notus Light studio in 2002, where in cooperation with his team made more than 200 light designed pieces during the years. In the process of creating, he specialized in plastic sculptural lighting forms which ultimately led him to the point where art and design crossed paths.
As a member of the Association of Applied Arts, Artists and Designers of Serbia (ULUPUDS), he executed their mission statement of expanding socio-culturological needs in his recent work. He was gracious enough to share some of his pieces with SNY and went into a little bit more detail with one in particular called Fading Sunset in Red City. With the lines of its cities that are intertwined with elements of nature, he is trying to find an answer that lies ahead in the future. For Marko, the past, present and future are always connected for him.
Most of these photos reminded me of New York City, Philadelphia and seeing the Talmadge bridge in Savannah, Georgia all cities I lived in which brought back a lot of memories. Next year in September Marko will have his work at Greenpoint Gallery in Brooklyn for a solo show entitled “Space for Lines“. Please read more on what he has to say and to find additional information on him visit his portfolio here.
Fading Sunset in Red City © Marko Gavrilovic
Acrylic, ink and watercolor on paper with digital interventions
The man who has finally achieved his vision, is looking at the city. Symbol of his civilization is fading slowly in sunset. Now, this is a different city for him. Changes are coming. It is always a mystery when you look at the person from behind. Feelings are hidden, because we can’t see his face. What does he think about this? We can come to the conclusion only individually, but one thing is certain, sunrise comes with the answers. What I had in mind may not be the only view. Through my art, I mostly want to engage the audience, especially with this series. You are looking at the main character always from behind, so you can only guess, is he happy or sad? Afro-American or white? Businessman or waiter? The story is universal, playing with the current state of the viewer. By looking at my work I want you to look at your inner side. – Marko Gavrilovic
Lady and The Blue Town Boy © Marko Gavrilovic
O YES BRIDGE © Marko Gavrilovic
Life Strangely Moved Me Around © Marko Gavrilovic
Representatives Artwork © Marko Gavrilovic
Infinity is dimensional space without considering time in which all known matter exists, having no edges, limits, an end: The line is infinite makes my drawing more free from all of my expectations and everyone else. I coexist with all these lines and those are determined my confidence. It is often tempting from the outside world and to all my expectations and others. “If the doors of perception were cleansed everything would appear to man as it is, infinite. For man has closed himself up, till he sees all things through narrow chinks of his cavern.” — William Blake http://www.youtube.com/watch?v=d4lc_cWJI_k Film by Ivana Ivka Drawings by artist Marko Gavrilovic http://markogavrilovic.com/ Music mix Ivana Ivka
Forms and fragments of my fascinations are connecting with invisible or tangible… I don’t know how to measure these, while curved lines absorb the memories, experiences, movement and characters. Yes … I’m looking for the soul of drawing… http://www.youtube.com/watch?v=EPr_BDWjS58
CONSULATE GENERAL OF THE REPUBLIC OF SERBIA IN NEW YORK IS PLEASED TO ANNOUNCE EXHIBITION ENLIGHTENED CITY BY ARTIST MARKO GAVRILOVIC
Do we need to be perfect, or… can we?
Is the soul, immortal essence, crucial to human existence?
Do you have to live your life now, with no sense of past?
Can we predict the future, through clouds, dreams and wishes?
Which of these views do you choose?
The pace of modern lifestyles and philosophy of consumption makes us temporary and unnatural, and also this marks the temporality of human relationships. By seeking diversity and stimulation, man loses contact with reality, taking care only about himself, unlike previous model, of respect for others and the community. Lines flicker, quiver, sway, dragging us into the world of urban and organic, where drawing thrives as the city itself: seemingly random as a subject of its own laws of growth.
Every single drawing and occasional futuristic force of the movement has a meaning and tells a story.
Symbolic creatures, like sharks and bulls, represent the Nature that is touched by humans.
Their bodies covered with lines and buildings details, as a mark of our influence.
In the World of ambitions, we conquer, but…for how long?
It is interesting for me to see these rather opposite opinions, on one side art collector & and art critic on the other .
It is obvious why this collector is making his collection, his demonstration of tepid passion for his artists clearly talking about that.
Or … he might be confused with the sharpness of Robert Hughes?
Садашњост и будућност
Mарко Гавриловић нас серијом цртежа “Садашњост и будућност” уводи у филозофско-уметничку димензију доживљаја времена, простора и савременог човека у њему. Прошлост је овде намерно изостављена, сасвим упитна, схваћена као пројекција догађаја и информација које нису нужно и чињенице. Уметник чија је истраживачка и ликовна преокупација гибање и живот органског, и чињенице доживљава као делове слагалице. Оне су придодате уз одређену епоху, смишљено интерпретиране, наменски показују зашто се свет развијао у одређеном смеру. За Марка Гавриловића, и не само за њега, садашњост у којој живимо и будућност која из ње произилази једине су временске димензије за које можемо засигурно рећи да су доживљене, посматране и поцењене: нашим сопственим осећајем и искуством.
Тема цртежа из серијала “Садашњост и будућност” је уметничка и лична интерпретација овог просторно-временског гибања и његовог тока, при чему јунак данашњице остаје дезорјентисан и збуњен. Темпо савременог начина живљења и потрошачка филозофија чине човека привременим и неприродним, а та привременост обележава и људске односе. Тражећи разноликост и надражаје човек губи контакт са реалношћу, води бригу искључиво о себи, за разлику од ранијег модела уважавања других и заједнице. Изабрани концепт са темом човека у модерном свету, окренутог себи, интересантан је и близак савременој публици, као и сам приступ. Облици се појављују наизглед сами од себе, уметник их прилагођава и уклапа у организам који почиње да живи нови, самосталан живот. Меке и органске форме комуницирају са подсвешћу посматрача, узрокујући низ асоцијација. Сама идеја о коначној форми цртежа настаје у току рада и склапања фрагмената: све што нас окружује састоји се од делова, делови формирају предмете, светове, делови су ти који заједно дају живот, попут појединачних догађаја у временском току.
Улазимо у кафкијански свет надреалног и реалног, у коме усковитлан и гибајућ цртеж, подвучен узнемирујућом жутом и црвеном, плови кроз простор. Линије трепере, дрхте, лелујају, увлачећи нас у свет урбаног и органског, где цртеж буја као и сам град: наизглед стихијски, подложан сопственим законима раста. Сваки поједини цртеж и повремена футуристичка силина покрета има своје значење и приповеда причу – фрагментарну, динамичну, личну. Сваки је, даље, делић изложбе и укупне идеје. Сигуран, брз, наративан цртеж Марка Гавриловића, владање простором и композицијом, где се представа не сагледава већ ишчитава, уводи нас у временску димензију проблематике савременог човека и модерне ликовне уметности.
Зорица Атић, историчар уметности
Is she beautiful, scary, cheeky, sensual…urban?
For me…she is all that in one.
PRESENT & FUTURE
With a series of drawings, “The Present & Future” artist Marko Gavrilovic introduces us with the philosophical and artistic dimension of experience of time, space and the modern man in it. The past is here purposely omitted. It is questionable, understood as a projection of events and information that are not necessarily the facts. The artist whose research and artistic preoccupation is motion and organic life sees the facts as the pieces of the puzzle. They are attached to a particular epoch, deliberately interpreted, specifically showing why the world is (or was) developing in a certain direction, but the fact that we live in the present and the future is a result of our knowledge. These are the only time dimensions that we can say that we experienced, observed and estimated with our own sense and prudence.
Everything else could be made up?
Drawings from the series “Present & Future” are an artistic and personal interpretation of the spatial-temporal motion and its stream in which the hero of today remains disoriented and confused. The pace of modern lifestyles and philosophy of consumption makes one a temporary and unnatural, and this marks the temporality of human relationships. By seeking of diversity and stimulation, man loses contact with reality, taking care only about himself, unlike previous models, of respect for others and the community. The chosen concept with the theme of man in the modern world is interesting and close to the contemporary audience, as well as the approach. Forms are appearing by themselves; artist is adapting them to fit in the body of an artwork so it could start to live independent life. Soft and organic forms are communicating with the subconscious observer, causing a variety of associations. The idea of the final drawing, created during the operation of fragments assembling, is that everything around us is composed of parts; parts are forming objects, worlds…Those parts together give life, as well as individual events in the timeline.
We enter into a Kafkaesque world of the surreal and the real, which stirred up and moves drawing with disturbing underline of yellow and red, floating through space. Lines flicker, quiver, sway, drawing us into the world of urban and organic, where drawing thrives as the city itself: seemingly random as a subject of its own laws of growth. Every single drawing and occasional futuristic force of the movement has a meaning and tells a story – fragmented, dynamic and personal. Each artwork is a piece, of the exhibition and the overall idea. Safe, fast, narrative drawing of Marko Gavrilovic, occupying space and composition, where the play is not seen…you have to read it, and it takes us into the time dimension of the problem of modern man and contemporary art.