Goran Gus Nemarnik is an Unusual and original Sculptor Whose Artistic Palat is wide and Intriguing. Influenced by wild life and the elements and often includes a wry sense of humour. A much liked Artist and man.
Sculptures by goran gus nemarnik
Goran Gus Nemarnik`s art beginnings were by working collages of butterfly wings.That fascination returns in various forms now end then.
After high school enrolled in the Art Academy in Zagreb, which interrupt after some time.It was too boring, there were endless hours of drawing acts of elderly people and chairs. So he left and went living couple of years in Europe doing the art of surviving making little paintings,jewelry and black leather rock&roll outfits.
Back in Croatia,in early eighties,he started using wood for sculptures,then combining it with leather, leather with metal, then allocated bronze that has become his main medium. Also worked with glass, bones and ceramic,as well as rejected objects that led to the use of the electronic trash in mid-nineties.Computer motherboards have proven to be very inspiring structure whence a separate issue eventually emerged.This project is called * Silence ++ * and deals with the invisible level of reality.Here,the sculptures are perceptible only in the base depicted as s bas-reliefs.
Most of these materials he still uses nowadays.
He held his first exhibition in 1983.
Experimented with sound and vision, found some kind of synesthesia a suitable way for merging music and visual dimensions.
Professional sculptor since 2000 when he became a member of Croatian Freelance Artists Association.
SCULPTING EXPLORATIONS BY GORAN NEMARNIK
Goran Nemarniks work remains on a trail of exploring the sculpting media. Using ready made objects author assembles interesting compositions, associating of the certain possible animals. Thus, in the author`s hands, something that is to be rejected and unusable becomes constructive new-content element, an ecological sculpture that confirms art as a magical skill ol illusionism. One can observe how the electronic solders and the green plate basis, once a part of an industrial product, become an excellent relief base to a spiral creature with the roe`s horns! Artist had joined apparently incompatible things and they have flashed within a simple and new combination; as if on stage, now illumined sculpture glitters with the thousands of small stars (solders), while a spring radiates unusual blueness.
Play with the rejected objects adds to the materials investigation. Fitting wavy-shaped golden triangle into a sliver circle of hacked edges with all-framing abrasive paper, author very subtly scrutinizes colours’ interrelation, relief gradatlon, always using rejected things. lt ls amazing how much a human eye is liable to a deception, and how the forms truly live reality-independent life. ln such a manner, investigating illusion as s phenomena relied on by a contemporary plastic art, author has set up interrelation between boards, colour and cut *solders* that give surfaces their ordered graphism.
One of the topics gladly sculpted by Goran Namarnik is fish. He posits those fishes on a stone pedestal, and they swim freely in space, in front of the beholders. Frequentty, those are bronze castings of the dangerous fish with a sharp fin (famous San Pietro fish). However, special beauty is possessed by the metal, unusual, round form with a hole instead or an eye, snort and chubby, form more reminding of a fish than actually describing it. In these authors uses a materilal`s structuralllty and applies simple intervention to instigate presumptions of the new art-forms. In such and those forms, Goran Nemarnik is the best.
New works’ series upon the theme of olives and fish fissils is a very interesting continuation of the authors’ sculpting investigation. Joining soft wood, whether of a naturally unfettered form or board- like, with the greenish insoldered bronze sceletons, author achieves certain provocation. These bronze-into-wood interventions are being read as the potential olives or fish fossils. However, primary is a certain tension stemming from the material*s conflict. ln a place where wood should have its life juices flow, a bronze streak stands out. Of course, this is
Realisation of the idea of man`s presence within the nature, of an eternal battle between transience and continuation, ofan antagonism between natural and artificial. Meanwhile, behind the materials’ tension there lies actually an excellant work of sculpting tarsia.
Branka Hlevljak translated by Majda Jurić