Roberta Vilić : Paintings

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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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Works of Roberta Vilić act as “fields of memory (reminiscence)“- they are places of intimate, symbolical exchange, where private perception transforms into a visual code. “The work itself is a screen of the authors interior“, wrote Janja Feric for the occasion of Roberta Vilic’s exhibition in gallery Galežnica end 2002. Evocational character of the matter transforms the painting surface into a suggestive field. In the tactile game of associations, from structure of the matter itself rise or disperse diagrams and traces. Leaving an imprint of time eroded walls and evocate a metaphorical picture of passing of time.

Moreover, Roberta’s works constitute researches of space and surface/plane, structure, matter, and material. These are abstract compositions of reduced coloring, summarized to approbation of patterns of monochrome surfaces, grey, black or white, they are close to minimalism, and they address void and surface as central figures, activating the relation between positive and negative. On the surface of the painting, layer closest to the observer, one can sense words or letters as the only reference to the world of externality, and which in subsequent elaborations and research loses its narrative character by becoming an unobtrusive symbol, and by adopting abstract character of the sign. During this sublimation process a shift is apparent, deep ponderation, which results with cumulative sense of easement of the structure, its purification and appeasement.

The new works are produced in the continuity of the author’s expression, certain form-content patterns, and visible close communication with the heritage of informell. In time we find revelations and researches of a technical nature. Alongside parts of text and letters, cuts, scratches, ruptures and gaps appear as peer elements. The author addresses them as one does a graphical matrix. These are all messages inserted in the matter and contribute its expressive power and re-evaluation of our comprehension of elementary world of matter. Without evocating objective signs and symbols by principle of tautology. By conceptualization of reduction and recurrence methods, in almost monotone repetitiveness rhythm and change are bought by minimal and discreet shifts which emphasize uniqueness of multi-layered structure of each individual work. – Extract: Branka Benčić – Marisall Gallery

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Roberta Vilić : Marisall Galerija

Roberta Vilić : More Works

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Rachel Whiteread : Sculpture

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‘Untitled (Rubber Torso)’
High Density Rubber
3 1/2 x 7 1/8 x 10 3/8 in
1994

‘Index’
Plaster (two units)
10 5/8 x 11 5/8 x 10 1/4 in
2005

‘Hold’
Plaster, wood and aluminum
9 1/4 x 23 5/8 x 9 7/8 in
2005

‘Cabinet II’
Metal and plaster (one metal cupboard and 43 plaster units)
17 3/4 x 18 1/2 x 17 1/2 in
2006

‘Study’
Plaster and wood
36 x 73 5/8 x 21 1/4 in
2005

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The artist Rachel Whiteread creates elegant and poetic sculptures which explore architecture, space, absence and memory. Often inspired by the physicality of the human body, her works are poignant for their exploration of intimate domestic spaces and household objects. Whiteread typically uses industrial materials such as plaster, resin and rubber to cast the negative space surrounding or within an object – the murky darkness beneath a bed frame, the void within a humble cardboard box, the space in and around a myriad collection of books. The resulting sculptures retain the texture and shape of the original objects, yet are eerie ghosts of their former selves.

Whiteread is perhaps best known for several large-scale public commissions such as House, a sculpture cast from the interior of a condemned Victorian house in London’ s East End, Water Tower, a resin cast of the water towers ubiquitous to the New York City skyline, Monument, an inverted pedestal placed upon an empty plinth in Trafalgar Square and the Holocaust Memorial in Vienna, an impenetrable library of books turned inwards in commemoration of the thousands of Austrian Jews who perished during World War II. Like her smaller sculptures, these monumental works are distinguished by their minimalist sensibility and their capacity to evoke stillness and contemplation.

Rachel Whiteread has a long list of international distinctions which include winning the 1993 Turner Prize for House, representing Great Britain in the 1997 Venice Biennale and presenting solo exhibitions at such prestigious institutions as the Kunsthalle Basel, the Reina Sofia, The Serpentine Gallery and the Deutsche Guggenheim. Her work is housed in museums and private collections around the world, including the Museum of Modern Art, New York, the Stedelijk van Abbemuseum, Eindhoven, the Tate Modern, London and the Centre Pompidou, Paris. The artist lives and works in London, England. [Bio]

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Rachel Whiteread : Luhring Augustine

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