| Sažetak | Geometrija fraktala u klasičnom grafičkom okruženju proizašla je iz autorovog ranijeg stvaralačkog opusa ostvarenog u tehnici dubokog tiska. To se prvenstveno misli na grafičke listove realizirane u bakropisu i suhoj igli. Oni nedvojbeno svojim likovnim karakterom upućuju na prisutnost fraktalne strukture kroz sam raster ostvaren linearnim umrežavanjem ili kroz komadanje matrica. Kako fraktal, kao svojevrstan matematički proces, ima za karakteristiku repetitivnost, dakle opetovano ponavljane vlastitih (istih) elemenata, ovdje je spona s autorovim ranijim grafičkim ostvarenjima potpuno neupitna. Sve to je rezultiralo daljnjim likovno stvaralačkim procesima. Osim same analize autorovih radova, kao izvorište istraživanja – a sve u cilju povezivanja klasično grafičkog postupka s fraktalno matematičkim (ujedno i digitalnim) – trebalo je osloboditi kreativnost koja je svoje novo uporište pronašla upravo u geometrijski organiziranom redu. Dakle, dijametralno suprotnu stranu kakva je prisutna u većini likovne prakse, onu koja je više okrenuta transcendentalnim spoznajama. Hipotetički su se pokušali "pomiriti" ti svjetovi, a za sponu se koristila upravo geometrija, koja je u likovnoj umjetnosti odavno korištena. Matrica koja je u središtu stvaralačkog procesa upotrijebljena je kao nositelj budućeg likovnog ostvarenja. Pri tome se paralelno proučavala i vizualno likovna moć svjetla, te njen ukupni dojam koji ostavlja na promatrača. Ovdje se ispitivala sugestivnost rastera (piksela) ostvarenog putem tv signala a koji se ogledao u crno-bijelim treperavim točkicama (u narodu prepoznatim kao "snijeg"). Tu se moglo govoriti i o aktivnim i pasivnim pozadinama, kao i o gibanju samog svjetlosnog snopa unutar perforiranog grafičkog lista. Metode kao i alati koji su se koristili bili su sljedeći: cinkova ploča, točnije linearni raster urezan u samu matricu putem grafičke igle za duboki tisak, kojom se dubila njezina površina. Nadalje, tu je i mehaničko perforiranje same ploče, kao i njeno lomljenje na manje dijelove (fraktale). Dalje je uslijedio proces nabojavanja same matrice, njeno brisanje od viška boje, kao i otiskivanje na unaprijed pripremljenom (obrađenom) papiru. Naposljetku je uslijedilo perforiranje i samog nosioca likovne namjere, dakle papira, s ciljem uvođenja još jedne dimenzije, kao i pojačavanja likovno vizualnog doživljaja. Kao dodatak, putem tv signala – točnije rasterske slike ("snijega") kao i njenog gibanja u prostoru, a i vremenskim intervalima realiziranim kroz perforaciju grafičkog lista, ostvaren je novi likovno-estetski doživljaj. Za rezultat tog novog likovnog doživljaja imamo grafički list iz kojeg se iščitava geometrijska struktura autorovog likovnog izričaja uobličena u fraktalnoj formi. Perforacija grafičkog papira ispod kojeg "treperi" raster s tv zaslona, dakle pixeli, stvara ukupni dojam koji objedinjuje sve likovno vizualne doživljaje. Prožimaju li se ovdje iskustva iz klasičnog grafičkog okruženja i fraktalne geometrije? Apsolutno da, jer se koristi sukus fraktalne energije i njezini su oblici preoblikovani u novu formu klasičnim grafičkim alatima a njezine likovne zakonitosti definirane autorovim i likovnim izričajem. |
| Sažetak (engleski) | Fractal geometry in the classical graphical environment has resulted from the author's previous creative work achieved in the technique of deep print. This primarily applies to the prints realised in etching and drypoint. They undoubtedly, with their visual character, indicate the presence of fractal structure by the raster itself, realised by linear networking or the dismemberment of the matrixes. Given that a fractal, as a kind of mathematical process, has repetitiveness for its characteristic – therefore, reiteration of its own (same) elements, here is a link to the author's previous graphic creations unquestionable. All that resulted in the further artistic creative process. In addition to the analysis of the author's work, as a source of research – all with the aim of linking the classic graphic procedure with fractal mathematics (also digital) – the creativity had to be unleashed which found its new stronghold right in the geometrically organised order. Therefore, a diametrically opposite side that is present in the most of artistic practice, the one which is more oriented towards the transcendental knowledge. The attempts were made to hypothetically “reconcile” those worlds and to link them by geometry, which has long been used in the visual arts. The matrix, which is at the centre of the creative process, was used as a carrier of the future artistic achievement. At the same time, visual artistic power of light was studied, and its overall impression on the observer. Also, the suggestiveness of the raster (pixels) was probed, generated by TV signals that were reflected in the black and white flickering dots (popularly identified as “snow”). Finally, we could also speak of active and passive backgrounds, as well as of the movement of the very light beam within a perforated graphic print. The methods and tools used were as follows: Zinc plate, namely a linear raster etched into the matrix itself by drypoint for intaglio (or deep) printing, a hard-pointed “needle” which caved its surface. Furthermore, a technique of mechanical perforating of the plate was used, as well as its breaking into smaller pieces (fractals). Next came the process of dyeing the matrix, wiping it from excess dye, and printing on a pre-prepared (treated) paper. Ultimately, the act of perforation of the very holder of artistic intention, therefore, of paper, followed, with the aim of introducing another dimension, as well as of reinforcing the visual artistic experience. In addition, by the TV signal – namely the raster image (“snow”) and its movement in space, and by the time intervals realised through a perforation of a graphic print, a new artistic and aesthetic experience was created. As a result of this new artistic experience, we have got a print from which we can read a geometric structure of the author's artistic expression enshrined in a fractal shape. The perforation of the graphic print, under which the raster – pixels – from the TV screen “flickers”, creates the overall impression which integrates all artistic (visual) experiences. Do the experiences of the classic graphic environment and fractal geometry pervade here? Absolutely yes, because the essence of fractal energy is used and its forms are transformed into a new form by classic graphical tools, and its artistic laws are defined by the author’s and artistic expression. |
