Gallery ULAK, 2001. Caffe bar Foška, Pula 2001. Foreword
The human body intrigued man since its begining when he received the contours of humanity. And with the invention of photography in the 19th century finally got the opportunity to record their own reality. In the begining, body were mainly engaged in strictly academic way, and these photos were used as the study of the human figure for painting akt. It took long time for photography to grant the status of art, and photographers to stop imitate oil paintings. However, meeting of artist and naked model in the studio, resulting with a special charge during the shooting, and also for the observer of finished photos. Nikola's photos shows this in the best possible way. Intimate clips from the dark room attrct us with mysterious atmosphere to look at them long, long time, hoping to find some more details of the story. We are trying to discern the face of women that are hiding, exposing their naked bodies to our view. Somehow, I get a feeling that they are revealed only to Nikola, just for his excited photographic eye. And he shared his fascination for us. Photography has this accentuated note, but in this case mostly for the observer, because Nikola is involved in the creation of this intimate atmosphere, he is allowed to watch and record in his diary that bulky curves of a women which are completely relaxed resting or pretend not to notice him, letting hers eroticism to bewitch him as well as us. Male nudes are processed with the same type of baroque light, but more formally emphasizing the power and expressiveness of the male body, rather than drawing us into an erotic game. Both male and female models are placed in a real space, although only specified with details which contribute to their vitality, as opposed to the often cold and sterile nudes in front of a photographic background.
mr. photography Sandra Vitaljić
Galerija ULAK, 2001. Caffe bar Foška, Pula 2001. Predgovor
Ljudsko tijelo intrigira čovjeka od samog njegovog postanka dok je dobivao obrise ljudskosti. A sa izumom fotografije u 19. st. dobio je konačno mogućnost bilježenja vlastite realnosti. Tijelom su se u početku uglavnom bavili na strogo akademski način, a te fotografije koristili kao studije ljudske figure za slikanje akta. Dugo je trebalo da fotografiji kao takvoj priznaju status umjetnosti, a fotografima da prestanu imitirati ulja na platnu. No, susret umjetnika i nagog modela u studiju, rezultira posebnim nabojem kako pri samom fotografiranju, tako i za promatrača gotove fotografije. Nikoline fotografije to održavaju na najbolji mogući način. Intimni isječci iz mračne sobe vuku nas svojom misterioznom atmosferom da ih gledamo dugo, dugo, nebi li nam otkrili još koji detalj priče. Pokušavamo nazrijeti lica žena koje nam se skrivaju, izlažući pogledu svoja gola tijela. Ne mogu se oteti dojmu da su se otkrile samo za Nikolu, samo za njegovo uzbuđeno fotografsko oko. A on je svoju zadivljenost podijelio s nama. Fotografija ima taj naglašeni vanjski prizvuk, ali u ovom slučaju najviše za promatrača, jer Nikola sudjeluje u stvaranju te intimne atmosfere, dozvoljeno mu je da gleda i zabilježi u svoj dnevnik te volumenizirane obline žena koje se potpuno opušteno odmaraju ili se prave da ga ne primjećuju, puštajući svoju erotičnost da ga omami kao i nas. Muški su aktovi obrađeni istim tipom baroknog svjetla, ali više formalno naglašavajući snagu i ekspresivnost muškog tijela, a manje nas uvlačeći u erotičnu igru. I muški i ženski modeli smješteni su u realan prostor, iako tek naznačen detaljima, što doprinosi njihovoj životnosti, za razliku od često hladnih i sterilnih aktova pred fotografskom pozadinom.