Bibliografija / Bibliography

Bratislav Ljubišić

2003. godine

Retko se koji umetnik seća početka posle trideset godina stvaralaštva. Naročito trenutka kada je donesena odluka da se upusti u avanturu bavljenja likovnom umetnošću. No, u slučaju Vladana Terzića “stvar” je jasna: ideja da se posveti pamćenju i presnimavanju viđenog i postojećeg I dan danji ga zaokuplja kao i decenljama ranije. Ima u tome spontanosti, neke nesputane radosti i želje da se zaustavi i tok vremena i prolaznost i nestabilnost gledanja. Da se nečemu što je samo po sebi efemerno da početak čvrstine i trajnog. U suštini takvo je svačije slikarstvo. No, ovde je u pitanju divljenje jednom tipu, delu prirode i nastojanje da se sačuva tajna koja je uzrok i izazivač nastajanja mnogih dela. Šta se to posebno događa u čoveku da se osami i preda građenju nove prirode, novim jezikom i postupkom koji do tada nikom nije padao na pamet – to je trajna čarolija koja se postavlja pred posmatračem, onom koji se zagledao u prirodu na zidu. Za trideset godina Terzić je morao da prebrodi mnoga i raznolika iskušenja. Da istraje i veruje u ono što ostavlja u amanet drugima i vremenu koje dolazi. Izložba koja je pred vama to najbolje dokazuje: sve je “u redu”. Postoji i delo i stvaralac. Momenat začudnosti je tu, ali tu je i druga stvarnost, ona koja nastoji da se izdvoji i nametne svojom izuzetnošću.

Terzić je ostao veran realizmu ali ga je izmenio: u nekoliko je uneo ekspresivnost, koloritu dao dodatnu energiju i približio se traženoj dramatici, lako je organizacija slika ispunjena dinamičnim elementima, određena monumentalnost je tu. Prisutna je i namera da se jasno iskaže osećanje i divljenje: prizorom je obuhvaćen čitav niz postojećih strepnji i plašnji što ih sa sobom nosi egzistencija. Svaki potez kičicom, ili olovkom, perom je odraz jednog tajnog života. Nastajanjem slike on je obelodanjen i učinjen javnim. Tako je nastalo iz tmine pojanje.

Motiv je kod ovog slikara uvek višestruko osvajan, analiziran i proučavan. Crtanje, slikanje, fotografisanje – sve je to u službi građenja prirode o procesu u kojem je osećajnost dovedena u prvi plan. Jedna materijalnost prelazi u drugu. Uostalom to je i “normalno” kada je u pitanju slika. Ona je preciznija od reći i njene dvosmislenosti. Uvek je određena i to umetniku umnogome pomaže da dosegne onostrano. Da time uvuče u kolorit i posmatrača koji se tako, pridružuje zaveri. A njena je namera da se nevidljivo učini vidljivim. Nepostojeće prisutnim. To je umetnik trideset godina ostvarivao. Brojni su tumači njegovog dela i sve je to u jedinstvenoj nameri sačinjeno da se otkrije tajna stvaralaštva. No, ipak, ona se sačuvala i pružena je prilika i mnogim drugima da se ogledaju. Da pripomognu. U tom namerenju je nastao i ovaj uvod u stvaralaštvo kojem se iskreno divim godinama.

Bratislav Ljubisic

2003.

Rarely any artist remembers his begginning after thirty years of creative work. Especially the moments when a decision was taken to start up an adventure of dealing with painting art. But in case of Vladan Terzic, the situation is clear: the idea of dedicating to rememebrance and recording of the already seen and existing still preoccupies him as decades before. There is some spontaeneity in that, some unspoilt joy and wish to stop for good the flow of time and transience as well as instability of watching. To give the start of firmness and permanent note to something that is ephemeric itself. Basically, everybody has such painting. However, here is the question of admiration to one type, a part of nature and the intention to keep the secret which is a cause and igniter of creation of many works. What is it that happens especially to a man to make him lonely and to surrender himself to the creation of new nature, with a new language and procedure which had never occurred to anybody before that is a permanent magic which is set in front of a looker, the one who gazes at the nature on the wall. For 30 years Terzic has had to overcome many and different temptations. To last and to believe in what he leaves as sacred to the others in forthcoming times. The exhibition in front of you proves it in the best way: everything is OK. Both a creator and the work are there. The moment of surprise is there, but there is some other reality, the one which tends to separate and to dominate with its exceptional features.
Terzic has remained loyal to realism but he has changed it: to a certain extent he has brought in expressiveness, has given some additional energy to the colourite and has approached to the demanded dramatic feature. Although the picture organisation is filled with dynamic elements, there is a certain monumental touch. An intention to express clearly the feeling and admiration is present also: the sight encompasses a whole series of the existing fears which are carried by existence itself. Each stroke of a brush or pencil is a reflexion of one secret life. By making a picture, it has been revealed and made public. Like the singing from the dark.
A motive of this painter has always been developed many times, analyzed and studied. Drawing, painting, taking photos, all that is in the function of nature constructing about a process where sensitivity has been brought into a focus.
One material thing transforms into another. Anyway, it is even normal when a picture is in question. It is more precise than a word and its ambiguities. It is always defined and it helps greatly to an artist to reach the other side. To involve a looker into this circle which joins a conspiracy so easily. And its intention is to make the invisible visible. To make the unexisting existing. The artist has managed and created this for thirty years. Numerous interpreters of his work and all this done with a unique intention to reveal the secret of creative work. However, it has been kept and there is an opportunity given to many other people to have a try. To help a little. This introduction to the creative work which I have admired to for many years has been made with that intention.

 


Dragiša Milosavljević

2003. godine

Snažno ekspresivno slikarstvo Vladana Terzića, sa izuzetnim osećajem za kolorit stavlja ga na visoko mesto u srpskom slikarstvu novijeg doba. Pejsaž, kao poseban doživljaj prirode ponet sa sobom iz rane mladosti, još više ga izdvaja i učvršćuje. On sam o tome kaže: “Slike detinjstva u svakom slučaju ostavljaju trag u čoveku za ceo život. Možda su one najizrazitije kod umetnika, likovnih posebno. Pejsaž kao moj opus, neraskidivo je vezan za moje detinjstvo, koje sam proveo u prirodi, gde sam odrastao u ovom podneblju i kretao se… I kada nisam u Užicu i u ovom području, već negde na moru, u nekom drugom kraju ili nekoj drugoj zemlji, ja opet slikam pejsaž, jer priroda je ta koja me inspiriše, koja mi daje stvaralačku snagu i uvek iznova motiviše.”

… Naravno da je boja, kolorit, bitna likovna sintagma koja se odmah uočava na Terzićevim slikama i koja čini njegov prepoznatljivi umetnički kredo. 0 tome je u više navrata pisano i verovatno se neće dodati nešto posebno novo. Njemu je poznata rečenica koja je ostala iza Van Goga, da “boja izražava mnogo već sama za sebe…” 0 koloritu, o odnosima boja na svojim platnima Terzić kaže: “Na mojim slikama prisutne su crvene boje, intenzivna žuta, kao i plava boja, znači dominantne boje koje sigurno u prirodi postoje, ali ne u tim odnosima. Moj cilj da se prikaže atmosfera ambijenta – zahteva da se što više potenciraju kontrasti, da toplo bude još toplije, hladno još hladnije; da upravo ti kontrasti upotpune samu kompoziciju slike i sam doživljaj prirode, da bi došla do izražaja svetlost, igra svetlosti, senke, igra senki na objektima.”

Dragisa Milosavljevis

2003.

The strong expressive painting of Vladan Terzic, with the exceptional feeling for colourite, places him at a high rank in the recent Serbian painting. A landscape, as a special experience of nature rooted in the early youth times, separates and sets him firm even more. He himself says about it: “The pictures from childhood in any case leave an impression on a man for his whole life. Maybe they are most expressive in artists, painters especially. Landscape as my opus has been tied firmly for my childhood, which I had spent in the nature, where I grew up and walked. Even when I am not in Uzice and in this region, but somewhere at the seaside or some other place or another country, I paint a landscape again, as nature is the one which inspires me, which gives me the creative power and motivates me all again and again.”

painters, from whom he absorbed certain knowledges. Ot course, colour, colourite are the important painting syntagm which is immediately noticeable in Terzic’s pictures and which makes his artistic credo recognizable. It was written about several times and probably nothing new and special will be added to that. He knows pretty well the sentence which remained after Van Ghogh, stating that colour expresses a lot for itself… About colourite, about the relations of colours in his paintings, Mr Terzic says:

“Red colours, intensive yellow as well as a blue colour, actually dominant colours are present in my pictures, which for sure exist in nature, but not in those relations. My aim to show the ambient atmosphere – requires to point out contrasts more, to make the warm even warmer, the cold even colder; and just those contrasts to complete the very picture composition and the very impression of nature, in order to have light, light play, shadows, play of shadows on objects in focus”.

 


Dušan Đokić

1990. godine

Sa retkom aosieanoscu, ovo slikarstvo prožeto je duhom vedrine i optimizma, traganjem za onom vrstom svetlosti koja podjednakom snagom spaja doživljaj prirode sa onim što na tragu vidljivog potvrđuje delatnu uobrazilju. Povezanost svih vidljivih podataka u Terzićevom slikarstvu ostvarena je u jednom energičnom sledu, kao neka vrsta logičnog iskoraka iz područja iluzije i mimezis-a u energetsko polje čiste slike, čije vizuelno definisanje zavisi prevashodno od onoga što se zbiva u procesu omreženja površine platna. Od jedne moguće, analitičke umetnosti “predela” ostvaren je, kontrolisanim gestom, ulazak u umetnost “prostora”, pomeranje naglaska sa mogućeg sadržaja i naracije, na izvlačenje onog što se ispoljava kao suština likovnog problema u prvi plan.

Dusan Đokic

1990.

With a rare consistency, this painting is permeated with a spirit of cheerfulness and optimism, by looking for the type of light which with an equal power joins the impression of nature with the one which, on the trace of the visible, confirms the active conceit. Connection of all the visual data in Terzić’s painting has been achieved in one energetic sequence, as a type of a logic step forward from the field of illusion and mimesis into an energy field of a pure picture, whose visual defining depends primarily on what happens in the process of netting a canvas surface. From one possible, analytical art of “landscape” there has been realized, by a controlled gesture, an entry into the art of the “space”, shifting the emphasis from the possible content and narration, onto the extrusion of what is expressed as the essence of a painting problem into the focus.

 


Dusan Todorovic

1988. godine

Vizuelni jezik i slikarsko pismo kojim se služi Vladan Terzić da bi nam saopštio poetsku viziju prirode, duboko je ukorenjen u njegovoj radoznaloj i kreativnoj ličnosti koja ne miruje i ima potrebu da u sliku unese novi sadržaj, koji ne trpi bukvalne, verističke zapise iz prirode, nego svoja slikarska poetska viđenja menja sigurnim potezom četke u sliku kao predmet nezavisnog dejstva nove prirode. Tako se na Terzićevim platnima, satkaniim od linearnih ritmički usklađenih bojenih poteza, ujednačenih hromatskih dejstava koja trepere na njegovim platnima, mogu uočiti i prepoznati strukture i slojevi zelenog, hromatski promenljivog prirodnog bedema od stabala i krošnji gusto naseljenih na okolnim brdima i

planinskim vencima, koji ga okružuju, gde je nebo visoko i daleko a pred nama je gusta zavesa prirode.

Dusan Todorovic

1988.

The visual language and painting alphabet used by Vladan Terzic to tell us a poetic vision of nature, is deeply rooted in his curious and creative personality which does not rest and has a need to bring a new content into a picture, which does not stand literal, veridicous records from nature, but changes his painting poetic visions with a sure stroke of a brush into a picture as an object of an independent action of new nature. Also, in Terzic’s pictures which are woven of linear rhythmically-coordinated coloured strokes, synchronized chromatic actions which glitter in his pictures, one can perceive and recognize the structures and layers of the green, chromatically changeable natural ramparts of tree trunks and treetops densely settled on nearby hills and mountain ranges, which surround him, where the sky is high and far away and in front of us there is a dense curtain of nature.

 


Radomir Vergović

2003. godine

Terzićje vernik prirode sa odnosom dubokog skoro religioznog prožimanja. On će joj na njen

šlagvort uzvratiti silovitom ispovešću svojih strahova, radosti, ljubavi, bola nad sudbinama ljudi i svekolike nesreće čoveka. Slike prirode postaju pejzaži duše umetnika. To su pejzazi odvažnog i

surovog gesta, zasićeni gustom pastom skoro čiste boje koja deluje kao nanos ogromne, slojevite, materijalizovane čiste emocije. Odnos bojenih masa ide od dramatičnih sudara suprostavljenih naboja ili energija, do skrovitih lirski obojenih kolorističkih sazvučja. U tim slikama, autopejzažima svoga bića, Terzić teži savršenoj istini kroz maksimalno doživljenu i iskrenu ispovest. Svestan toga da je ljudska reč kao sredstvo komuniciranja i razumevanja devalvirala u svoju suprotnost, da više skriva nego otkriva, da je dvosmislena, lažna i prevrtljiva, da izvrće i kvari emocije, on boju kao vlastito sredstvo komuniciranja sa sobom i sa ljudima želi osloboditi od svega lažnog i dvosmislenog. Zato često, kao poruku završnu reč ili najiskreniju misao, on apostrofira na slici bojom direktno iz tube, čistom i nemešanom, nedvosmislenom i beskompromisnom kao reč proroka ili pravednika.

Pa ipak, bez obzira na vrstu emotivnog naboja koji eruptira iz svake slike Terziću nije cilj da šokira, rasplače ili zgrozi sagovornika-posmatrača. Sa njegovih autopejzaža duše zrači lepota i optimizam vidljivi tek na drugi pogled, upravo onako kako su vidljivi i lepota prirode i lepota čoveka. I baš zbog toga, ali ne samo zato, Terzić dosledno i autentično zastupa, slobodno se može reći, slikarstvo užičkog kruga umetnika i slikarstvo u savremenoj srpskoj umetnosti.

Radomir Vergovic

2003.

Terzic is nature’s believer with an attitude of deep, nearly religious permeation. To its “schlagvort”, he shall react back by a fierce confession of his fears, joys, loves, pains over destinies of people and the all bad luck of man. The pictures of nature become the landscapes of the artist’s soul. These are the landscapes of a curageous and cruel gesture saturated with a thick paste of nearly pure colour which looks like a deposit of a huge, layered, materllaized pure emotion. The relation of coloured masses go from dramatic clashes of opposed charges and energies up to hidden, lyrically coloured colouristic accords. In those pictures, the self- landscapes of his being, Terzic tends to a perfect truth through a maximum experienced and sincere confession. Being aware of the fact that a human word as a communication and understanding means has devaluated into its contrast, that it hides more than it reveals, that it is ambiguous, false and fickly, that it distorts and spoils emotions, he wants to free the colour as his own communication means with his own himself arid with the people, to free it from everything that is false and ambiguous. For that reason, very often, as a message, final word or the most sincere thought, he emphasizes in the picture with the colour directly from a tube, pure and unmixed, without ambiguities and compromises as a word of a prophet or a fair man.
However, regardless of the type of emotional charge which erupts from each picture, Terzic has no aim to shock, horrify or make a speaker-looker cry. Beauty and optimism radiate from his auto landscapes of soul which are visible only at the second look, just the way the beauty of nature and the beauty of a man are visible. And just because of that, and not only because of that, Terzic represents in an authentic and consistent way, one can say freely, the painting of Uzice circle of artists and the painting in modern Serbian art.

 


Sreto Bošnjak

1998. godine

Konstantna Terzićeva slikarska inspiracija je poetski doživljaj sveta i njegova ubedljiva transformacija u poetski jezik slike. Boja i potez, boja i oslobođeni oblik, boja i apstrakna površina, boja i ritam koji se javlja kao logična posledica uzbudljive perceptivne akcije slikarskog bića – osnovni su elementi njegove poetike. Kreativni proces pokriva raspon od prirode sveta do prirode slike, od viđenog do doživljenog, u sintetičkoj viziji oblika koji je na Terzićevoj slici dinamička jedinica doživljaja transformisanog u strukturu likovnog jezika. To više nije slika objektivnog sveta, već svet u slici koji se uspostavlja kao visoko ekspresivna afirmacija poetskog sadržaja slikarskog bića.

Sreto Bošnjak

1998.

Terzić’ s constant painting inspiration is a poetic impression of the world and its convincing transformation into a poetic language of a picture. Colour and stroke, colour and freed shape, colour and abstract surface, colour and rhythm which appear as a logic consequence of an exciting perceptive action of a painting being – are the basic elements of his poetics. A creative process covers a span from the world’s nature to picture’s nature, from the already seen to the experienced, in a synthetic vision of a shape which in a Terzić’s picture is a dynamic unit of an event transformed into a structure of the painting language or expression. It is no longer the picture of the objective world but it is the world In the picture which is established as a highly expressive affirmation of the poetic content within a painting being.

 


Dr Vjekoslav Ćetković

1987. godine

Konstantna Terzićeva slikarska inspiracija je poetski doživljaj sveta i njegova ubedljiva transformacija u poetski jezik slike. Boja i potez, boja i oslobođeni oblik, boja i apstrakna površina, boja i ritam koji se javlja kao logična posledica uzbudljive perceptivne akcije slikarskog bića – osnovni su elementi njegove poetike. Kreativni proces pokriva raspon od prirode sveta do prirode slike, od viđenog do doživljenog, u sintetičkoj viziji oblika koji je na Terzićevoj slici dinamička jedinica doživljaja transformisanog u strukturu likovnog jezika. To više nije slika objektivnog sveta, već svet u slici koji se uspostavlja kao visoko ekspresivna afirmacija poetskog sadržaja slikarskog bića.

Dr Vjekoslav Cetkovic

1987.

Terzic’s picture is brilliant, a colouristically created thought. Colour becomes the basic unit of showing the impression of the world inaugurated in primary meaning via experiences. His painting does not have a revolt and life tightness. It is primarily a refined thought, often decorative but strong and woven temperamentally with full power and support on his own colour impression. Terzic transforms a picture into an avalanche of substance, constantly rockered, radially or asymetrically cyclic and circular movement, whirpools and torrents of powerful, abrupt and fast made strokes, which are quiet pulsing, glitters, glowing or burning down of the dense and charged substance. He has really made the picture structure saturated with the inspiration freshness or the sense for complete harmonies which being like this and without thematic meaning can cause deep life impulses.

 


 

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