The recognizable handwriting of Dagmar Franolić’s watercolors is evident in the simplicity of expression trough which the artist achieves the fullness and depth of the displayed. Trough the attentively chosen motives we can bespeak the silence of the sleeping citadels, the rumor of rain and orations of sea. The free perspective of houses, alleys, cypresses and stairs on her paintings is confusing to us, initiating us trough some strange play into the unforeseen world of the painting, close and warm.
The ethereality and poetry of the dominating blue and green with segments of red and warm orange give that necessary pictorial dimension, semitransparent and direct, that appeals to our memories. In this series the artist achieves an elegant and fragile structure of layers by using the line.
The forms are not confined by rigidity of perspective, they exist in a faceted split that plays with reality trough graceful and balanced rules of art. Huddled houses, trees, bell towers drawn trough waters strenght emerge from the surface. The windows are opening in front of our view, they are observing us from the faces of houses, solemn and mute.
The coloring of the chosen pallet momentarily takes on a defined form, the next moment promptly transforming into a mysterious two-dimensionality opening to us the doors to a different nature. The meditative rhythm emerges out of the harmony of the spiritual and sensuous conception of form. The motives, symbols of fishes are frequent, but hidden and unobtrusive.
That envisioned world of Dagmar Franolić is unreal, but woven from elements of reality that within themselves maintain refections of landscapes, collisions of sky and sea, as well as the infinite treasure that is found in between them.
Jasna Vukmirović, 2004
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