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Darko Markić
September 13, 2010
Goran Manić
September 22, 2010
Lovro Lapuh
The nine new paintings of Lovro Lapuh might well be seen as a whole, a cycle, for they were done for this exhibition. They carry on from the series of six pictures that he exhibited as his dissertation piece at the Academy of Fine Arts. This would tend to suggest that Lovro very carefully works out his working strategy for an appearance in zhe public eye. This drive to comminicate with his audience, to set up a dialogue, spark a reaction, tells of the engaged gesture of a young artist expressing the need to be an active participant in the life of his time, to mirror it in his work, test out and comment on it, sometimes ironically, desperately, suspiciously, tartly. He is not borne on revolutionary ideas about changing the world around him, for he will not let his work in art subordinate his own personality to any kind of ideology. The powerful iconography of his paintings will shock us with their substances even before we manage to unravel the complexity of the messages. To an extent some of the scenes in his pictures will terrify us, and a mere cursory glance at them will summon up associations of photos, films and comic strips, as if we were dealing with a model for diesign, poster or advert. But Lovro s paintings, irrespective of their illustrative character, also contain deeper connotations. They delve below the surface of the setting, impinge on the subconscious layers of western society, reveal its afflicted viscera, test out the foundations of our existence. Lovro consciously makes his painting with the classic procedure of painting on canvas, the catch being that the hand-made , one-off procedure is a warranty for the craft operation, the meticulousness of the work, even if the sources that inspire him and set him working can be discerned. Inspired, among other things, by the book Simulation and Reality by Jean Baudrillard, he indicates the thought behind his poetics. He provides a key for the unridding of his paintings, for he has rejected classic procedures of the imitation of reality therough the concept of simulation that arises above immediate experience and knowledge. As participant in his time, caught up in the powerful wave of visual and textual information transmitted by the mass media, he takes over their technology and presentation models. He surfs the Internet, seeking sources for his work, chooses the material, selects, prints and collages, enlarges the formats, composing them into a new whole that he then transfers to and paints out on canvases. The application on the model of recontextualisation, where a new semantic set is brought into being, enables Lovro to express his ideas in the painting medium directly. At first view they seem to be the phantasmagoric fruit of his visions, indeterminate and floating states of awareness, experiences and knowledge about the illusoriness of everything in existence. The paintings reflect a complex sum of anarchic and hallucinatory cognitions concerning the self and the surroundings, lay bare the raw reality in wich violence, anxiety and uncertainty are dominant.
Lovro indirectly subjects existing social standards to criticism, mocking current problems, emotional deviations and erotic fetishes, aware though that as an individual in the social context he has no hope of changing anything.
He sees painting as expression of a personal catharsis, as a field of battle with himself, of a need for feedback, of any kind. For if art is not digestible and if it excites nausea, is life really?
Damir Grubić

September 28, 2010
September 30, 2010
Lovro Lapuh 2015
February 11, 2015