Samostalna izlo\u017eba radova crnogorskog umjetnika Dragana Krad\u017ei\u0107a bi\u0107e otvorena u Dvorcu kralja Nikole. Izlo\u017eba je organizovana u okviru likovnog programa \u201eBarskog ljetopisa\u201c, a obuhvata radove iz ciklusa \u201eSkrovi\u0161ta bi\u0107a\u201c.<\/p>\n
\u201eBavljenje umjetno\u0161\u0107u za Dragana Karad\u017ei\u0107a nije ni bijeg od kraja, ni povratak na po\u010detak, stvarala\u0161tvo je njegov na\u010din \u017eivota. Jezikom apstraktnog likovnog govora, odstupanjem od ‘opisnosti ili u\u017ee vezanosti za motiv, odnosno otklanjanje izravnije mimeti\u010dnosti ili ikoni\u010dnosti’, kao da nas ujedno i upozorava da takvo umjetni\u010dko traganje vodi jo\u0161 dublje u sopstvenu i op\u0161tu tajnu \u017eivota od koje bi, na slici ‘mogla ostati samo daleka asocijativna nit ili (mo\u017eda amorfna, ali stoga ne manje poticajna) klica razvedenih prostornih intuicija’\u201c (Maroevi\u0107, 2019).<\/p>\n
Za Dragana Karad\u017ei\u0107a zakon cjeline – smisao je \u017eivota. Njegovu liniju na slici mo\u017eemo brisati i prekidati, me\u0111utim, ona \u0107e uvijek biti ‘cela lepa’, kako to u Predgovoru Antologije novije srpske lirike, za pjesmu, ka\u017ee Bogdan Popovi\u0107. Sve je u pjesmi, kao i u slici podre\u0111eno osje\u0107anjima. Umjetnik je dostojan divljenja, upravo zato \u0161to posjeduje tu sposobnost da svojim raspolo\u017eivim stvarala\u010dkim sredstvima ubrizga svoje osje\u0107anje u prostor cjeline.<\/p>\n
Nazivi slika ne poja\u0161njavaju nego navode na mogu\u0107e \u010ditanje: Kosa misao, Pogled iznutra, Padine muzike… Oni imaju lirsku konotaciju i u vezi su sa kompleksnijom prirodom radova obojenih meditacijom, poezijom, esejistikom, litraturom. Tiha molitva pred platnom.<\/p>\n
Izlo\u017eba Karad\u017ei\u0107a traja\u0107e do kraja Barskog ljetopisa.<\/p>\n
<\/p>\n
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