Reviews
SCULPTURED FIGURES AND PAINTING/DRAWINGS
"The discovery of glass is probably connected with the technique of extraction of metal from minerals as slag is a material similar to glass. It is thought that the Babylonians were the first who took up the production of glass. The first known recipe for its production was found in the ruins of the king Ashurbanipal's library in Nineveh
(7th century B.C.) from where that skill was transferred to Egypt and from Egypt to Phoenicia. Some years B.C.
the imperator Augustus`s age ) the technique of the glass production went over Alexandria to Rome."
(Encyclopedia LZ, sv. 7., str. 168., Zagreb, 1964.)
IVANOVIĆ is a true sculptor, highly skilled (!), with a clear creative thesis, ripe in conception and style. ln the entire Croatian sculpture he is instantly recognizable and identifiable detachable ever since 1989, in the 28th year of his life. He is unique for his new distinctive interpretation of the eternal sculptor`s theme of WOMAN (femina nuda and femina vestita), as well as for his elaboration, "alchemical" (glass - resin) procedure . The final result of that inspiring obsession and the mode of proceeding united into sculptural, artistic, comprehensive definitiveness beside all genuine, unavoidable general relations with memorable works of past and recent history of sculpture - is unique among all Croatian sculptors of the last decade ( 1980/ 1983 - 1993).
IVANOVlĆ`s thematic obsession of WOMAN is freed from any frustrations and traps of pathos and pomposity. As such, she is deeply in the field of creative delight, mirth of witty remarks and a special intimate mode of the proficient observation and sensual "humorous" considering of particular moments, gestures, poses... of the "model"! Josip is neither sardonic nor lascivious about this. On the contrary, he tries and succeeds to enjoy "peace" and "harmony", even in the most tendentious invocation of self-pleasing bodies. He always succeeds to be serious, decent in every way in deference to a lady or ladies, even in the very comical situations.
Bringing colour ( as signs and dispositions of excitable sensibility ) inato transparent materia the statues are made of, is completely in accordance with the sculptor's inspirational scenario in which the colour variously intensified, as also the objects ( chairs, flowers in the flower pots, similar to ice-cream cones, human-shaped cypresses, architecture, windows, for instance".) represent sensual scenery.
Immanent to figure and, therefore, if more "realistic", artes liberales, significant and allusive, she is more exciting, more libidinous and more imaginative in attraction. All those "decorative escorts" to his protagonists with a sprinkling of gentlemen and assiduous, round - faced voyeurs and the fixative dispositions of the sculptor`s observation interactions. They are, more or less, (in)discreet fetishes. Explicitly talented, JOSIP IVANOVIĆ has created rare and inventive figurative sculpture - the complete opus based on the only theme which l call "the opus of women and people made of glass".
WOMAN is, symbolically and "fetishistically", one of the oldest, or even the oldest and permanent "fixed idea" or for numerous reasons, the most important stereotyped sensual and protective mechanism. In the sculpture, like in the other arts ( lyrics, for example ) she is often and from old a substitution for unfulfilled reality and however competitive, privileged and risky challenge whose successful realisation should be compared with masterpieces of the rich sculptural inheritance on the same theme.
Woman is not incubus for JOSlP IVANOVIĆ, but the perceptive field of ludicrous and sculptural self determination of a healthy and inventive man, obviously happy, with an inexhaustible intimate life. Thus much gentleness, beauty and sympathy for his models... in this Josip`s panopticon Got sight of A proud girl, Ballerina, Lady, Well sunbathed, A predous lady, A devoted one, The triumph of Cupid, Pleasantly tired lovers, Blue ladies of oblivion,.
Regarding the glass ( vitrurn, vere, Glas, vetro...) : glass statues in these dimensions are latest products. It is symptomatic for our story of Josip lvanović that he began to sculpt in glass after moving to Dubrovnik in 1988! On account of his inter - relation it should be emphasized that our oldest medieval glassworks were existing in Dubrovnik in the 15th/17th centuries but their productions have remained unknown. Ages "have washed away" their glassy "foundations" or "broke up" evident tracks. l doubt that Josip lvanović chose the glass sculpture or alchemistry of glass and resin by chance, upon his arrival to Dubrovnik. For Josip it is certain that marvellous climate, the town of Dubrovnik, rich with lights as well as the innumerable flashing motifs on the Lapad beaches were crucial for his decision. Perhaps some active suggestions of mysteriousness have got interfered in the sculptor`s routine, full of banal limitations, taking over the leading position!? As the explanation of such crucial decisions, the rationalisation - known both as a description of "reality" and verity of particular way and the best of manners - is often very complex, made of numerous conflicting but, above all, crucial "details". Josip Ivanović has been obsessed with his own theme and its realisation (worked out in details) for five years. He distinguishes idols of models, their realistic and imaginative, dearest ambitions. Lie always carefully "reads" emanations of their imaginations.
Fine illusions of the greatest love and happiness, very fragile especially in collision with hard walls of (idol`s) illiberality, a not to be forgotten. This is what JOSlP IVANOVIĆ knows well and therefore tries his best to make his protagonists as sturdy as possible. But some "butterfly" and similar regularity of life are superior to every intention of salvation. People, happiness and glass are in this regularity since: "Fortuna vitrea est: tum cum splendet, frangitur!“
Yes, glass is, by its miraculous effects and its all time to be or not to be, the most compatible harness of the glory of these, mostly summer nude existing - sunbathed with happy and brave illusions.
VLADO BUŽANČIĆ