Marko Spalatin
Spalatin’s work represents a continuous involvement with abstract geometric forms defined by careful manipulation of color and light. The relationship between form and color within the pictorial field demands a visually symbiotic presence. The challenge revolves around the selection of a form as a vehicle for color, as well as choosing appropriate color and light for that form. This interplay creates a primary spatial illusion, along with secondary effects.
Spalatin believes that precisely defined areas of color, when placed against each other, competes for dominance. This activity, when further accentuated by tonal structure, produces multiple levels of perception. A given area of uniformly applied pigment loses its flat character through simultaneous contrast with the surrounding colors. In many cases, the positive and negative spaces within the field become interchangeable. In more complex paintings, when the substructure is a series of repetitive modules, the color-light interplay reveals its polyphonic character.
In general, his compositions remain formal and symmetrical in order to be set in motion by unexpected mutations of color and light. In some cases, the careful placement of small areas of saturated color against a backdrop of transitional grays creates as illusion of suspended particles. There is no doubt that in these images in particular, Spalatin’s sense of color and light is subconsciously influenced and sustained by many years of scuba diving in the waters of the Adriatic Sea and of the Caribbean. Intrigued by the relativity of color and the mystery of light, Spalatin is constantly challenged to explore their potentials. Every painting becomes a self-imposed visual problem, subjectively resolved in search of an objective truth.
Spalatin believes that precisely defined areas of color, when placed against each other, competes for dominance. This activity, when further accentuated by tonal structure, produces multiple levels of perception. A given area of uniformly applied pigment loses its flat character through simultaneous contrast with the surrounding colors. In many cases, the positive and negative spaces within the field become interchangeable. In more complex paintings, when the substructure is a series of repetitive modules, the color-light interplay reveals its polyphonic character.
In general, his compositions remain formal and symmetrical in order to be set in motion by unexpected mutations of color and light. In some cases, the careful placement of small areas of saturated color against a backdrop of transitional grays creates as illusion of suspended particles. There is no doubt that in these images in particular, Spalatin’s sense of color and light is subconsciously influenced and sustained by many years of scuba diving in the waters of the Adriatic Sea and of the Caribbean. Intrigued by the relativity of color and the mystery of light, Spalatin is constantly challenged to explore their potentials. Every painting becomes a self-imposed visual problem, subjectively resolved in search of an objective truth.
5640 Taylor Road, Naples, Florida, 34109 (239) 514-2773