Brut Carniollus: Short Contact

Gallery View
When: from 18.04.2019, 19:00 to 14.06.2019, 18:00

Brut Carniollus is a visual artist and photographer. His work is based on digital collage and digital graphics, and his works are usually derived from the photographic record and are materialized as a digital UV-print. He exhibits at both domestic and international group exhibitions, where he has received numerous awards and recognitions so far. He is also a member of the Association of Slovenian Fine Artists. He lives and works in Radovljica.
From the record of curator Saša Bučan:
… »A private mythology of a lost, utopian world, without a drip of life that is in place as a space due to the space, as if it was created by an invisible force, Brut Carniollus continues or builds in parallel with the cycle of faces. As if setting a life, which is the face of the individual, the face of the street, the blurred identity, in the juxtaposition of the deceptive places that exist or not, which, like the unnamed acquaintances of the new author’s cycle, the work remains blurred. Faces are shown to us in a profile, directly – then we face an individual face to face. The portrait of one person leads us, through ourselves into the city of unknowns, trying to figure out what is behind us, what will remain hidden, what we should still notice. In some cases, the “image” disappears and only lines remain – short, sharp, like cuts into the meat. Sometimes the face resists us from a rough surface of the wall, marked by letters, symbols, written or engraved in its essence. With these portraits in us, there are others who turn away from the distant view, all of which are placed in the central axis and in the background, the emptied metropolis emerges in the background. Initially, the view persists on the face, the order reigns, which, after looking at the rampage of the silhouettes of the building sides and edges, immediately changes into chaos for the eye, so we can no longer follow the uniqueness. Smoothness replaces the background dynamics, and the colour palette as a semantic supplement points out the situation that prevails in the individual and at the moment of confrontation with the viewer. We do not know this individual, but at the same time he is not a stranger. It is becoming ever closer, recognizable because it is defined by the dull gray blue, dynamically pink red, incarnate green. The colour is here to finally, without embellishment, edit and expand the indoor game of an individual to the viewer. In some places, building masses are ruthlessly penetrating into the forefront, trying to overpower the man, his creator.”