Goran Štimac

Goran Štimac's most recent cycle of paintings, which was made over the past several months to be finished these days in his atelier, expresses the freshness of artist’s ideas unshared with the audience and brings the intimate artist’s world to the public for the first time.
The place of the first encounter has been set in the Tower Gallery in Veli Lošinj.
Štimac, an author with a view of the world of art which us immanently abstract, communicates primarily by means of colour (acrylic in this case) and a stroke, namely by specific way of laying colours on  the canvas. The variety of his brush strokes is truly amazing; they promote the energy of Art Informel and gestual painting, action painting and the easiness of dripping technique, but also the intuitive expression of lyric abstraction. Impasto layers, spots with undefined shapes as also minutely detailed drawing strokes bear Štimac painting gestures which can be followed on the canvas, gestures which erupt to the surface in one moment and vanish quickly in the other.
Colour strokes are the main elements of this cycle; they are strokes with a “character”, almost expressing their “personality”. We see them rigid and threatening, fine and yielding, slow and stiff, dynamic and whimsical. Their interrelations and compositional values create the subject of each and every canvas; they produce suspense or simulate pleasantness; their possibilities of interpretation and association are inexhaustible.
Štimac’s colourism is complex and multi-layered. Colour appears in double role – it defines space filling it with content at the same time by means of gesture. Its shades and chromatic properties build the structure and the integrity of the painting, yet breaking it up denying it. Layers of colours and non-colours (black and white) as well come one after another contributing to the subject matter of the painting. Lower layers emerge to the surface in places so that we become aware of the artist’s work process, trying to understand his logic of veiling or unveiling certain layers. Post-modern clash of gestures and geometric forms characterize Štimac’s early works, but in the last cycle it has been diminished. Therefore the symbolic combat between conscious and unconscious, reasonable and sensual, deliberated and spontaneous moves towards the domination of the latter.