Mitja FIcko' s solo Exhibition in Equrna Gallery Ljubljana.
Mitja Ficko belongs to the generation of artists who graduated from the Ljubljana Academy of Art and Design in the late 1990s and became actively involved in the Slovene art scene at the start of the new millennium. This generation of painters responded to the notion of “new” painting in very different ways – by, on the one hand, continuing the tradition of the postmodern deconstruction of the hermetic and exalted status of the art image, or on the other, establishing intermedial dialogues and incorporating mass-culture image-making and the pop aesthetic in their work. Ficko pursued a third way, one that, fully aware of the limitless game of signifiers, references, and recycling and still greatly influenced by the “new image,” was interested in creating intimate personal worlds, poetics, and stories.
Ficko soon discovered his main interest as a painter and tried to develop a suitable and, most importantly, fresh form of expression for conveying his ideas. His painting is not concerned with interpreting the “civilization” of images in the sense of their role in directing our values and concepts and shaping our everyday consciousness. He is not interested in the socially marked image, the image contaminated by the characteristic impulses of the outside world, but in the image that is created as a result of some more or less constant inner accompaniment, states of mind and mental conceptions, which the painting tries to show. For him, the painting is not a “sacred object” in the sense of a metaphysical display of the art of painting, nor is it a field for deconstructing its own history; rather, it is a means of communication through which inner aspirations, states of mind, and insights can be expressed and the most deep-rooted feelings released. Here the weight of personal experience proves to be weightier than the collective perception of contemporaneity.
In Ficko’s work, one cannot sense the typical urban pressures and neurotic irritations of the metropolis, which in its technological and communicational saturation structures the contemporary existential rhythm, which drowns out all alternatives. The painter spent his youth in a small village near Ljutomer, where he lived in close contact with nature and its inhabitants. This experience, increasingly rare today, became an intrinsic part of his awareness and shaped his particular sensibility and, especially, the authentic and visibly lived relationship to nature in his paintings. For him, the big city, the natural habitat of contemporary man, was not the only possible living environment, and such remoteness and deliberate distance from the dominant matrix of global society and its laws allowed him to create his own “mythic” frame in his painting....
Nadja Gnamuš
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| Education Anything | Upload TimePublished on 15 Nov 2015 |
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