PETAR HRANUELLI

                                                                                                                                            SKULPTURE

  

  

Venera, 2015.,  kamen , 47x17x15cm

Revni klesar i nevjerne Venere

  

Kako prići figurinama Petra Hranuellija, kako što potpunije doživjeti te ženske aktove, konvencionalno nazvane Venerama?

Osim na uobičajeno kretanje oko objekta,kretanje koje stvara oblike u vizuelnom iskustvu,pozvani smo također da ih okrećemo na dlanu. Da pored promatrača budemo i mjeritelji obujma i njegovatelji površina. Osijetljivim jagodicama prstiju i toplim dlanom obgrljujemo tijela koja uzvraćaju svojom prilagodljivošću i podatnošću. Uzajamno se epiderme tkiva i kamena uvjetuju svojstvenom im taktilnošću. Tako su ti stari oblici-stari po iskonskom prisustvu u čovjekovu stvaralaštvu-uvijek novi ako ih neprestano obogaćuju novi pogledi i dodiri.

Doista,koliko aktova toliko raznovrsnih položaja. Bez ikakve shematičnosti i bez krute egzaktnosti, a samo s osjetilnom gipkošću skromnih plastika u kojima je pomirena suprotstavljenost elementarnog materijala i osmišljenost oblikovanja,Petar stvara tijela osobitih mjera i proporcija. Simetrija je tu izlišna, ali unatoč slobodnom rasporedu masa ili ponekoj snažnijoj torziji, ova torza ipak ne prkose prirodi. Njihova lakoća volumena rezultat je naročita spoja organskih i ujedno apstraktnih formi. U formalnom pogledu te ženske korpuse možemo shvatiti kao sjecišta tokova, kao njihovo nabreklo čvorište, odnosno kao ishodišnu točku daljnjeg razvijanja tih silnica.

Hranuellijeve Venere, te skulpture dlana( poneka i momačke podlaktice ili djevojačkog krila ) , vesele i pune snage, vedre poput jutarnjeg svjetla, životne su i bremenite-pružaju nam se privlačeći namjernika, otvaruju svoju intimu u snažnom plodonosnom ritmu. Ne preostaje nam nego popratiti, likovno pročitati,tu potpunu integraciju njihovih tijela u prostoru osvojenom rastom,stasom i dinamičkim okretom.

Oblik je svakako podčinjen materijalu ( tek ponegdje uočavamo suzdržano naneseni pigment ) do stupnja da govorimo o prirodnosti oblika-oblutka; kao da ih je oformila abrazivnost prirodnih sila. Nešto izražajnija prisutnost djelovanja ruke nalazi se na jednoliko i oporo ornamentiranim površinama.

Stilizacijom statue poprimaju karakter simbola,kao da zadobivaju ponešto od božanskih prerogativa. Njihove tipske značajke neizbježno ih  povezuju s prethistorijskim Venerama, s magijskim figurama plodnosti “ Sva je u jednoj loptastoj okruglini “- reći će pisac za  Willendorfsku Veneru koja je svojom veličinom ( 11cm) i kompaktnošću drevna sestra  malih Hranuellijevih Venera; tek su ove potonje usvojile i nesputani plesni pokret juvenilne napetosti.

                                                                                                                                                                  Nikola Albaneže

Galerija Arho, Zagreb, 1.12.2005.

Gimnastičarka,  2015., boksit-lički kamen,  15x10x12cm

The dilligent sculptur and the devoted Venus

How should we approach the figures of Petar Hranuelli, how to perceive this female acts in their indivuallity, conventionally called Venuses?

Except the possibility to circle them by motion, a movement that results in a visual experience, we are also invited to turn them around on our palms and take their measure, nourishing a surface at the same time, besides being a plain observer. With sensitive fingertips and warm palms we hug bodies that respond by adapting, moreover by suppleness. Skin tissue and stone necessitate in their interaction a special tactile experience. In this manner archaic forms of human creativity remain unique only by offering them a new view or touch.And indeed, as many nudes - as many different positions. Without a scheme or rigid accuracy, only by a sensual flexibility of these humble plastics that render certain truce within a conflict between elementary material and meaningful formation,

Petar builds scultures of incomparable measures and proportions. Symetry is excluded, but regardless

the rather free configuration of the mass or a sporadic strong torsion, this torsos do not challenge nature. Their lightness in volume is the result of a special connection between organic and abstract forms. In a formal perspective though, this female corpuses can be perceived as a crossing of streams, or as their stout knob that makes a starting point in an ulterior development of forces. Hranuelli ́s Venuses – this sculptures od the palm (sometimes a masculine underarm or a female lap) – merry and strong, clear as the morning light - are both perky and pregnant, they simply render by attracting and succeed in their own intimicy by a strong, fructuous

rhythm. We on the other hand can only accompany, try to read art in the integration of their bodies in space concurred by stature, figure and dynamic turn.The form however remains liable to the material (only spasmotic we may notice a withhold, inflicted pigment) all to the point when we can speak of the naturallity of the pebble-shingl; as if beeing formed by abrasive natural forces. The more intensive existence of an influence of the arm can be find only on the even and roughly ornamented surfaces.

By stylizing, the statues gain a symbolic charachter, as if they are given somewhat of a divine prerogative. Their specific marks of type connect them inevitably with prehistoric Venuses, with this magic figures of fertility. „ She is compleatealy put into a ball-like speher“ – said a writer about the Willendorf Venus, in her size (11cm) and compactness a rather iconic sister of the Hranuelli Venuses. Only the later ones however managed to adopt the uninhibited dance of the juvenile expansion.

Nikola Albaneze

Gallery Arho, Zagreb 1st Dec 2005

  

Venera ,  2016.,  mramor,   18x14x8cm

O djelima Petra Hranuellija

Poput oblutka  s morskog žala  Hranuellijeva statueta  anđela  polegla se u dlanove. Bliješti bjelinom i žari senzualnošću iz svjetlosti i topline ukradenog Sunca u kamenu.  U preplitanju dlanova i krila  duh se gane i sjećanja navru na one koji su postali inženjeri neba. Peče. Punašna, obla  figura žene bujnih grudi i raskošnih bokova  u zaustavljenom gibanju brižno nagnuta, podatna…  Svojom obezglavljenom i bezručnom tjelesnošću sažima suštinu pučkog vjerovanja u  anđele. Dovoljna je misao da su tu, da postoje. Od njih ne zahtijevamo djelovanje. Oni su potsjetnici, putokazi i sadržatelji sjećanja. Samim tim su čuvari naše ljudskosti.  U Hranuellijevom anđelu to je moja raskošna teta velikih plavih očiju  i miris toplog ispečenog slavonskog kruha  iz njezinog  dlana.

Tako malena djela u matematičkim dimenzijama, a tako snažna u svojoj poruci Hrauellijevi Anđeli  su potresni.

Kad se duh oporavi, tada oko ulovi jednostavnost i  ljepotu forme;  neizmjerno poštovanje prema materijalu kojem se prilazi. Ono emanira osjećaj vrlo opreznog prilaženju kamenu u kojem se daje prostor za njegovo postojanje od jedne intervencije dlijeta do one druge i tako ga se pušta progovoriti u svoj snazi i moći mase. Apsolutnost mase, njezina zbijenost, netaknutost tek  probijena u intervenciji oduzimanja  i puštanja prostora u  nju, nosi praiskonski osjećaj poštovanja prema snazi i sili prirode do granica strahopoštovanja kad se osjećaji prelijevaju u mistiku, ritual, svetost.

       Već ciklusom „Venera“  Hranuelli, poput bijesnim udarcem čekića, komunicira nam nutarnju  snagu sveg postojećeg koja se tek pomalja u vanjskoj opni predmetnog svijeta.

Kulminira u „Katedrali“ iz 2008. u granitu. Oduzeto je sve suvišno i ostavljen je brod i jedro. Svetost  je doplovila  u onu koju mi danas poznajemo uobličenu u kršćanski nauk  Uređena je i  razumljiva. Divlji udarci čekićem i dlijetom skriveni ispod glatke bijele površine anđela u katedrali su pretočeni u uređenu rebrastu teksturu njezinog tijela-broda i njezinih krila-zvonika.  Nutrina broda zadržava svojstvo anđeoske površine, te   tako katedrala postaje ekvivalent mise koja se ovija oko čina euharistije.

            U crtežu Petar locira raspored budućih masa. Kratke, oštre strukturne crte nastale gotovo udarcem olovke po papiru režući ga, grade sjenu tamo gdje dlijetom se  otkida kamen i ljudska ruka  pušta prodiranje prostora. Grafičkom modelacijom u velikom kontrastu svjetla i sjene jer tamo gdje je svjetlo na papiru, gdje papir postoji sam sa sobom,  a u skulpturi to je nedirnuti kamen,  nameće se lik putene žene nadahnute pretpovijesnom Venerom.   Zanimljivo je pratiti kroz crteže gradaciju intenziteta poteza-udarca olovke u pritisku na površinu papira i   u njihovoj gustoći. Negdje su toliko tamni i snažni da probijaju obrisnu crtu.

                        Bilo snažnim urezima grafita u papir, bilo frenetičnim, uzastopnim, jakim udarcima u kamen  u vremenskom protjecanju, Petar Hranuelli  kroz simbol forme, progovara o STVARANJU I POSTOJANJU, te silnoj ljudskoj želji za njegovim razumijevanjem od pretpovijesti do danas.

                                                                                                                                                                     Snježana Kauzlarić

    U Slavonskom Brodu, 18. lipnja 2012.

Majka i dijete,  2015.,lički kamen-boksit, 18x13x8cm

About the Art of Petar Hranuelli

Aa a pebble on the shore lies the Hranuelli Angel Statue in a palm. Struck by brightness, burning with the sensuality of light and warmth stolen from the sun in the stone. Interlaced palms and wings touch the spirit suddenly, in remembrance of those who became engineers of the sky. It burns. A buxom, round female figure, full - breasted and of bacchanal hips within a stopped motion, meticulously lop-sided, supple .... With her beheaded, armless substaniallity she contracts the quintessence of popular belives in the exsistence of angels.Their sheer presence satisfies, we do not expect them to act. They are reminders, signposts, keepers of memories – moreover guardians of our humanity. The „Hranuelli Angel“ comes within my gorgeous aunt, with her big blue eyes accompanied with the scent of freshly baked, warm bread in her hands. Hranuelli angels do agitate, however so minuscule works in mathematical dimensions, but nevertheless strong in their message.

When the spirit gets reconvalescent, then the eye seizes the simplicity in the form – a grand respect for the approached material. The stone is approached carefully, by giving it a freedom of space and articulation throughout its strength and power of volume, between the many interventions of the chisle. Absolute mass, compactness, integrity - burst through by a giving and taking of space - carries within a primordial respect towards the prevalence and the might of nature to its utmost borders, when feelings turn into mystic, a ritual, light.

With his „Venus Cycle“ Hranuelli communicates the inner strenght of exsistence, like a furios chistle stroke, only brushing against the outer membrane of the material word. This context culminates in the granite „Cathedrals“, 2008. Only the boat and its sail is left, all unnecessary removed, hollyness brought into order, becoming understandable. Wild hammer and chistle strokes put beneath the white, smooth surface of an angel in the cathedral are poured into a orderly texture of a body within a ship and a belfry within wings. Its inner being keeps its angel-like surface – the cathedral moreover states the euharistic sense of the holy mass.Into his drawings however Petar places future mass. Short, sharp structural lines - the pencil cuts the paper and produces a shadow where tools hit the stone and the human hand allows an outright breach through free space. On a graphic modulation by intense contrast of light and shadow the image of a voluptuous Venus-like female imposes – light on paper is light within itself, as is the sculpture in the untouched stone. This drawings show an interessting gradation of the intensity of a pen-stroke, pressing on paper-surface in its density, being occasionally so dark and strong, breaking the outline.

Whether by graphit piercing paper or frenetic, successive, strong strokes on stone within time, Petar Hranuelli debates about the making and about excistence through figuration as well as about the ultimate human wish „to understand“ from „The Beginning of Time“.

 Snježana Kauzlarić,

 Slavonski Brod - 18th June, 2012

Matematičarka, 2015., aluminij 1/3, 24x8x7cm+postament

Venere!

Da li nam sam naziv skulpture govori o prirodi radova koje ćemo vidjeti? Da li nam time umjetnik određuje viđeno ili nam samo daje određene asocijacije?

Zašto Venera, zašto ne ljubavnica ili naprosto žena?

Sama skulptura nastaje oblikovanjem volumena. Volumen skulpture  doživljavamo ne samo vizualno već i taktilno. Njegovim oblikovanjem umjetnik oblikuje i prostor. Glavni i jedini materijal sa kojim Petar Hranuelli stvara svoje skulpture je kamen, materijal koji ga neraskidivo veže sa porijeklom. Kao kipar i umjetnik formirao se na otoku Braču, mjestu bogate kamenoklesarske tradicije i time za njega odnos prema kamenu ima posebno značenje i čini osobnu prapovijest kao smisao postojanja.

Tematski se okreće vječnom motivu žene/Venere. Podrijetlo je teme u tradiciji, ali način njegove realizacije čini izraz suvremenog. Njegove na prvi pogled

statične kompozicije pažljivim promatranjem i uživljavanjem otkrivaju struju života i energiju koje traju i ponavljaju se. Same figure svojim izrazom tijela pokazuju svoja raspoloženja, jer govor tijela je ovdje primaran. Glave kao neodvojivi vid jedne ljudske, iako u ovom slučaju stilizirane forme, ovdje ne postoje, umjetniku nisu primarne. Skulpture su u potpunosti apersonalne, no samim time nisu nam daleke. Svojom mekoćom boje kao da nas „zovu“ da im se

približimo, dotaknemo i saznamo što nam nude.

 Zaokuplja nas i sama površina kamena sa kojom se umjetnik poigrava i istovremeno iskorištava njegova strukturalna svojstva kako bi negirao tvrdoću. Ne postoje pravila, samo umjetnik i djetlo. Odnos kipara prema kamenu zapravo je posebno poglavlje, on mu nije samo odabrani materijal nego ponajprije sinonim za spoznaju kiparstva. Njegove skulpture su istkane kako od tvarnih tako i od materijalno neopipljivih elemenata praznina i sjena, koje im daju naročitu izražajnost, dinamiku i metaforičnost. Umjetnik nije išao u megalomaniju, on ostaje u svom mjerilu, u kojem se u krajnjoj liniji i osjeća najugodnije.

Ono što je svojstveno Hranuellijevim radovima je čistoća i jasnost. On ne teži filozofijama i metafizičkom doživljaju svojih skulptura. On traži i teži onom primarnom i možda najprihvatljivijem doživljaju jednostavnosti. Ponekad je upravo to najteže postići. U tome se nalazi puna ljepota njegovih radova. Petar Hranuelli kao mladi umjetnik svoja nam razmišljanja uspijeva prenijeti na topao i profinjen način čime dokazuje da je uspio dočarati samu svoju prirodu.

                                                                                                                                                   Nikolina Mahović

GALERIJA PRICA, Samobor,  2008.

Venera,  2016., mramor,  27x13x8cm

The Venus

What is the meaning of a title when art sculptures are concerned - do they tell us something about their nature? Does the artist imposes his own perception or is this only playing with a certain assocciation? Therefore, why „Venus“, instead of „Mistress“ or simply „Woman“?

The sculpture itself is the result of formating volume. The volume of a sculpture we perceive not only visually but also in a tactile manner. The artist actually formates space. Petar Hranuelli creates in stone only, a material connected to his origin - an attachement unpossible to break. As a sculptur and artist his personality unfolded on the island of Brac, a place of rich stone-masonry tradition, moreover the reason for the intimate relationship towards stone as the sense of existence in relation to a privat history.

Thematically he turnes to the female figure, the Venus as such. Its origin can be found in tradition whereas its realisation is rather contemporal. His at first sight static compositions  ,by carefull observance, reveal a stream of life and energy that continues and repeats itself. The figures as such disclose moods by body expression, since in this example body talk plays a leading role. The heads, as an disposable part of a stylizes human form, do not exsist in the usual sense, since they are of no importance to the artist. The figures are compleately „unpersonalised“ but nevertheless close. Their softness of colour invites approachement, the need to touch in order to denude their offer.

The sheer stony surface, played by the artist by using its structural features in order to negotiate hardness, represents a challenge. There are no rules, only the artist and his chistle. The relationship between the artist and the stone belongs to a separate chapter, not only the „chosen one“ but principally a synonym for the cognition of sculptore-art. His scupltures are made from as well as material as unmaterial elements of emptyness and shadows, that give them a special expressiveness, a certain dynamic and metaphorical meaning. This artist never fares so to speak towards exaggeration, moreover keeps to his measures, ensuring an comfortable feeling.

They are as a rule clean and clear artefacts – freed from philosophizing and mataphysical experience of the sculpture. The artist seeks and strives towards the prime and most acceptible cause of experiencing simplicity –  a most difficult peak to reach – nevertheless representing the cause for the utmost beauty of this works of art. Peter Hranuelli, a still young artist, succeeds in revealing his own thoughts in a rather warm and profine manner, as prove of his own nature of personality.

Nikolina Mahović

                                                                                                                             Prica Gallery, Samobor - 2008.

Bik i Venera, 2015., lički kamen, 20x17x10 cm

Kameni anđeli Petra Hranuellija

U vremenima kada anđele šaljemo nevidljivim strunama globalne mreže u nadi da će ih naši prijatelji i poznanici proslijediti drugima, ne zato što vjerujemo u anđele, nego zato što je lijepo misliti na anđele u ovom našem ludom svijetu, mali kameni anđeli Petra Hranuellija podsjećaju nas na neraskidivu povezanost i postojanost vjerovanja i umjetnosti. Anđeologija je posebna tema o kojoj se pripovijeda, piše i raspravlja. Neki je drže znanstvenom disciplinom filozofije i teologije koja pripada domeni duhovnog svijeta i izučava postojanje anđela u različitim religijama i vjerovanjima. Ona nagovještava i zadire u onostranost duhovnog svijeta u kojem tek rijetki pojedinci između mitova i stvarnosti nastoje i uspijevaju spoznati mogućnost njihovog postojanja. U postojanje anđela vjerujemo ili ne vjerujemo. Anđele molimo za prisutnost i pomoć, upućujemo im molitve i zazive, smatramo ih nevidljivim pomagačima i zaštitnicima, vjesnicima i poslanicima, duhovnim bićima bez tijela čija je snaga satkana od slobodne volje. Anđeli, arhanđeli, serafini i kerubini, anđeli čuvari, pali anđeli ili izgubljeni anđeli ne pripadaju prostoru i vremenu u kojem živimo. Anđeli ili meleki po nekima su nebeski glasnici i poslanici stvoreni od svjetla ili puka spoznaja čiste duhovnosti. Svi vidimo anđele samo na sebi svojstven način. Oni su odraz našeg unutrašnjeg bića i unutrašnjih stanja, našeg duha i naših snova. Neki ljudi vjeruju kako anđeli čuvaju anđele, upravo onoliko koliko oni u njih vjeruju. Petar Hranuelli svoje anđele oblikuje u kamenu, kleše ih i polira, oslobađa ih i pušta na slobodu iz tvrde jezgre kamena. On svoje izgubljene anđele pronalazi zatočene u kamenu.

Hranuellijevi anđeli su puteni i zaobljeni, naglašenih ženskih oblina, u svojoj nespretnosti hvataju ravnotežu, traže i vrlo često pronalaze tajnu zlatnog reza, savršeni matematički omjer broja Pi koji je upisan u svakome od nas. Zaustavljeni između dva pokreta odražavaju zdvojnost, nemir i energiju koju u sebi posjeduje i sam kipar. Takvi su zato jer ih on tako osjeća, vidi i priziva u svojim mislima, emocijama i djelima. Oslobađajući ih iz kamena ne pokušava shvatiti razloge i načine, uzroke i posljedice, naprosto to čini svojim kiparskim alatom otvarajući im svojim umijećem i znanjem novu dimenziju fizičkog postojanja. Petar Hranuelli u kamenu traži zatočene anđeoske duše, vraća im život i intuicijom umjetnika slijedi ideju stvaranja iz vremena u kojem se u ništavilu oblikovala praznina i stvarao kamen. Svjesno ili nesvjesno Hranuelli oslobađa prvobitni duh i oblikuje život, ocrtava, kleše i polira čudesne oblike i plohe koje u svojoj napetoj, zakrivljenoj, mekoj i zaobljenoj jednostavnosti postaju mali kameni anđeli prizvani u svijet u kojem živimo. Jedinstvo stvaranja leži upravo u jednostavnosti misli i djela koju je Hranuelli našao u kamenu, u oslobađanju stvarnosti bez smislenih i glasno izgovorenih pitanja i odgovora. Petar Hranuelli pogledom na kamen može vidjeti anđela zarobljenog u tvrdoj jezgri stijene. Dodirom neobrađene površine Hranuelli uspješno očitava poruke davno zapisane u strukturi kamene materije.

Ako pažljivo promatramo male kamena anđele Petra Hranuellija otvaraju nam se različita polja gledanja, a ako nam kipar na trenutak dopusti, možemo gledati njegovim očima. Samo jedan jedini pogled na male krilate figurice zaustavljene u kretanju, propete, nagnute i razapete između dvije čiste misli, može otvoriti i ispuniti naše vidno polje i naše srce. I tek u tom trenutku možemo osjetiti bliskost sa okamenjenim malim bićima koja svoj život žive u nekim drugim svjetovima kojih uglavnom nismo svjesni. Promatrajući zaigrane kamene anđele, dodirujući prstima i dlanom hladnu i uglačanu površinu, postajemo svjesni njihove razine svijesti, uspijevamo razgovarati, usvajati i razumijevati njihovu okamenjenu realnost. Hranuellijeve anđeoske figurice su bijele, crvene, sive i crne, baš poput kamenih ulomaka što ih nalazi u prirodi i otima iz zaborava Lemurije s onu stranu linearnog vremena. Pritom je njegova interakcija s anđelima svaki put drugačija, uzbudljiva i nova. Mijenja se od trenutka do trenutka, od ulomka do ulomka kamena u kojima Hranuelli nalazi svoje anđele. U bijelom mramoru ili bračkom kamenu zemaljske bjeline što ga brački kamenoklesari beru poput dragocjenih plodova Zemlje Petar Hranuelli nalazi male bijele anđele, crvene nalazi u tamno crvenom karničkom boksitu Velebita, dok su tamni anđeli oslobođeni iz kamenih ulomaka crnog mramora ili tamnosive ličke breče.

Petar Hranuelli u zaobljenim organskim površinama i strukturama svojih kamenih anđela traga za savršenstvom, pronalazi i oslobađa savršeni matematički omjer Pi. Pitanje proporcija, tek povremenih namjernih ili nenamjernih odstupanja u dužini i širini anđeoskih krila, zaobljenim bokovima, mekim pregibima i iznenadnim krivuljama, u svakom pojedinom anđeoskom pokretu nesvjesno teži savršenom omjeru i ravnoteži. Pritom, baš kao što savršeni matematički omjer Pi postoji u ljudskom tijelu, svakom živom biću i svim znanim organskim strukturama iz prirode, Hranuellijevi anđeli svojom jasnoćom klesanog kamena prizivaju u naše sjećanje davno usvojene oblike što su lomljenjem, klesanjem, brušenjem i poliranjem oslobođeni iz žive stijene. Petar Hranuelli oslobađa svoje male kamene anđele tragajući za savršenom anđeoskom dušom zatočenom u kamenu i pritom oslobađa sliku prvog pokreta. Tako pronalazi način u kojem je prepuštanje temeljna bit složenog čina stvaranja, što je u Hranuellijevom slučaju iskreno i skladno kiparstvo u kamenu.

Draženka Jalšić Ernečić, 

Koprivnica, 07.02.2015.

Anđeo širokih krila,  2014.,  mramor,   26,5x13,5x16,5cm

Angels of Stone by Petar Hranuelli

In times when Angels are send via invisible wires of global network, in hope our friends and aquaintances will foward them - not because we believe in them but rather for the sake of still believing in angels in a crazy world - the little stone angels of Petar Hranuelli remind us of an unbreakable connection, of the persistence of believing and of art as such. Angelology though is a separate topic, generally talked and discussed about. By some held for a scientific philosophical and theological discipline, that actually belongs to the domene of the spiritual world and studies the exsistence of angels in different religions and believes. It bodes and enters into the other side of life, where only few manage to recognise the possibilities of exsistence between myths and reality. We either belive in angels or not. We pray for their presence and help, we call for them, consider them invisible helpers and protectors, news bringers or epistles, spiritual bodyless creature, their strenght woven by the freedom of will. Angels, archangels, seraphines and cherubins, angels of protection, fallen or lost angels do not belong to the space or time in which we live. Angels or meleki are according to some heavenly emissaries and legats made out of light and considered being the recognition of pure 16 spirituality. We all recognize angels in a separte way. They are reflections of our inner being and well-being, of our spirit and our dreams. Some believe that only angels are guarded by angels, as much as they believe in each other. Petar Hranuelli however creates his angels out of stone, chistles and polishes them, frees them from the hard core of stone, since it is there, where he finds his incarcerated angels.

The Hranuelli angels are sensible and round, femininity stressed, cathing balance in their clumsiness, searching and even finding the secret of the golden cut, the perfect  mathematical

equlibrium of the Pi constant, that marks us all. Stopped between two separate movements they state difference, disturbance and energy - all a personal characteristic of the sculptor. They are a result of the artist`s feeling, recollecting them in his senses, thoughts, emotions and work. By freeing them from a rock he never seeks to understand causes or consequences - by the simple use of tools he unfolds to them a new dimension of physical exsistence. Petar Hranuelli seeks within stone for incarcinated angelic souls, gives them life and by intuition follows the idea of creation from past times, when stone was initially created from nothing. Aware or unaware, Petar Hranuelli frees the primal spirit, forms life, draws, chistls and polishes extraordinary forms and surfaces, that in their bend, soft, round simplicity become

stone angels, called to descend to our world. The unity of creation is based on the simplicity of thought and creation that Hranuelli found in stone, that is in freeing reality without posing any kind of questions. Petar Hranuelli is only by seeing able to recognise the withheld angel within the core of a rock. Touching the freckless surface he manages to decipher ancient messages written in stone matter.

By observing the small Hranuelli angels studiously, different fields of perception are offered to us, and only by the author`s approvement we are allowed to share his own viewpoint. Only a single glance at the small figures adorned by wings - stopped in motion, stretched, bended, crucified between two clear thoughts - can open and fulfill our visuality and heart completely. Only then, we are able to feel a certain closeness towards this little, stony things that live a life of some completely other dimensions, we are not able to imagine. Moreover by closer

observance of this playful creatures of stone, touching the cold and burnished surface with our fingers and palms, we become aware of their level of consciousness, we manage to talk about, realize and understand their stony reality. The Hranuelli angels are white, red, grey and black just as the stone fragments that can be found in nature and Lemuria ravens from oblivion at the other side of linear time. At the same time the artist´s interaction with the angels differs, it 17 is even more exciting and new by every glance. It changes from one moment to the other,

from one stone fragment to the other, where Hranuelli in the end finds his angels. Either in White or Brac stone of earthly blankness that Brac island masons gather as precious fruits of nature, Petar Hranuelli  figures out his white ones, whereas the red ones in the carnian bauxite of the Velebit mountain. The dark ones on the other hand are freed from black marble stone chunks and dark-grey Breca from the Lika region.

Petar Hrauelli searches in the stony, angelic, round, organic surfaces and structures for perfection – moreover finds and frees the ideal mathematical Pi constant. The question of proportion – sporadic, deliberate or iliberate deviations in the length or width of angelic wingsor hips by soft creases and sudden curves, in every singel angelic movement - unconsciously stiving for the perfect proportion and balance. However at the same time, just as the perfect mathematical Pi equilibrium exists in every human body, living thing and known organic structures in nature, the Hranuelli angels with a clearness of chistled stone invoke memories about imbibed forms from the past, freed from a loose rock by breaking, sculping, edging or polishing. Petar Hranuelli though frees his little, rocky angels  in order to find the absolute angelic soul captured in stone, instantaneously releasing the image of the first movement. This is how he finds a way in which abandoment is actually the main essence of the perfect act of creation – in Hranuelli´s case an honest and harmonic stone sculpturing.

Draženka Jalšić Ernečić, 

Koprivnica, 7th of February 2015

Transformacija Venere u Anđela,  2016, mramor,  25,5x21,8x12,5cm

ŽIVOT VENERE

Petar Hranuelli godinama u svojim skulpturama razrađuje temu Venera koje su s vremenom postale i njegov zaštitini znak. Klešući ih u mramoru, ili svom omiljenom materijalu bračkom kamenu, razrađivao ih je u najrazličitijim varijacijama, uvijek naglašavajući njihove zaobljene, senzualne oblike. Više ili manje apstrahirajući formu, Hranuelli je u ciklusom Venera dao hommage svojoj nepresušnoj inspiraciji - Willendorfkoj Veneri, ali i nekim umjetnicima poput Constantina Brancusija čije je djelo čvrsta točka uporišta svih njegovih skulptura bilo da se radi o Venerama, Anđelima, Katedralama...

Kao i čuvena prethistorijska Venera tako i ona koju kleše Hranuelli ima u sebi nešto iskonsko što ju čini privlačnom. Savršena na neki način u svom svojem nesavršenstvu, Hranuellijeva Venera je u jednom trenutku počela živjeti nekim svojim životom - od statične, zatvorene mase, postupno se oslobođala i iskoračila svojim volumenom i pokretom u prostor. A kad se činilo da je temu Venera do kraja iscrpio, Hranuelli je zaokrenuo smjer pristupivši joj s dozom humora, poigravajući se s njom i ironizirajući svaku mogućnost da sebe i ono što radi predstavi na pretenciozan način. Venera u Hranuellijevoj novoj interpretaciji postaje lik u vlastitom univerzumu. Ona se vozi na romobilu i motoru te postaje dio priče koja se tek treba ispričati. 

                                                                                                                                                             Romina Peritz

Galerija Buljat, Zagreb, 2013.

THE LIFE OF A VENUS

Petar Hranuell`s Venus sculpture, over the years past , grew into something  more than a plain signature of the author himself. Placing her into marble  or in his favourit Brac stone, he translated this figure in many different themes and variations but always stressing its round, sensual  figuration. By abstracting  the recognisable form of his Venus cycle, the author actually renders homage  to his own neverending inspiration – the Willendorf Venus – but also to some renown artists as Constantin Brâncuşi –  here an important stronghold  – regardless whether we speak of the Venus, the Angel or the Cathedral as a structural Hranuelli motif.

Just as the famous prehistoric Venus , also the Hranuelli Venus,  shows something iconic and attractive at the same time. Perfect in its imperfection, the Hranuelli Venus started at some point in time living its own existance – from a rather static, closed mass she certainly freed herself by consciously stepping with both her volume and movement into open spaces. And when it already seemed that the Venus theme was compleatly  exhausted, the sculptor changed his direction by approaching  his Venus with a dose of humour, permanently playing and expelling every possibility to present himself or his work as pretentious. The Hranuelli  Venus in its new interpretation becomes a figure living its own universe. Now she drives a so called Trottinett  or even a motocycle, telling in this sense a story that hasn´t been told jet.

Romina Peritz 

Buljat Gallery – Zagreb, 2013

  

Čehinja,  2015., boksit-lički kamen,  10x20x11cm

PETAR HRANUELLI

rođen u Supetru (27.12.1975.), a do 1994. godine živi u Postirama na otoku Braču. Izlaže od 1994. godine na 41  samostalnih i 80 skupnih izložbi u zemlji i inozemstvu. Dobitnik je nekoliko nagrada i priznanja. O njegovom umjetničkom radu pisali su istaknuti likovni kritičari: Nikola Albaneže, Nikolina Mahović, Stanko Špoljarić, Rašeljka Bilić, Romina Peritz, Davorin Vujičić, Draženka Jalšić Ernečić , Snježana Kauzlarić, Romana Tekić, Kristina Tamara Franić,... Djela mu se nalaze u javnim i privatnim zbirkama ( Hrvatska, Slovenija, Njemačka, Nizozemska, Italija, Austrija, Srbija, Turska, Engleska, Španjolska, Kalifornija, Čile,... ) Član je HDLU-a Zagreb od 2006. godine.  Živi i stvara u Zagrebu i Rasoji.

AMOSTALNO IZLAGAO U :  

Dubrovnik, Karlovac, Lopud, Lovinac, Oroslavje, Palmižana, Postira, Pula, Rijeka, Split, Supetar, Samobor, Skradin, Zagreb, Zaprešić .  

SKUPNO IZLAGAO U : 

Antalya  ( Turska ), Bale, Banjole, Brežice (Slovenija), Dubrovnik, Gospić, Kaštel Lukšić, Karlovac, Hvar, Osijek, Omišalj, Postira, Požega, Rijeka, Rovinj, Slavonski Brod, Split, Sv.Martin pod Okićem, Sisak, Samobor, Szmbathely ( Mađarska), Ston, Trogir, Vinkovci, Velika Gorica, Zadar, Zagreb, Zaprešić.

  

JAVNI RADOVI :

Gospić - Park ( Venera, 2008.), Lovinac – Sekulići ( spomen obilježje 2009 )., Sirnitz- Schloß Albeck, Austrija (Park skulptura, Venera 2015.)    

LIKOVNE KOLONIJE :

Antalya ( Turska ), Alilovci, Karlovac, Knin, Gospić, Lovinac, Novska, Omišalj, Rab, Split, Ston, Sv.Martin pod Okićem, Sirnitz- Schloß Albeck (Austrija), Zaprešić, Zagreb.    

NAGRADE - POHVALE :

Mali Lošinj (1992), Pučišća (1994), Zagreb (2007),  Antalya ( Turska 2010.)

Mali motorin,  2013., mramor, 29x18x14cm

PETAR HRANUELLI

born in Supetar, island of Brač, Croatia (27th Dec 1975), Petar Hranuelli remains on his island of birth (Postire, Brač, Croatia) until 1994. Since that year the author organises and takes part at 41  individual exhibitions and 80 collective ones, regional as well as international. For his artistic work he was already awarded several awards and gained many acknowledgements. Renown art-critics wrote about  his artistic work and opus as Nikola Albaneže, Nikolina Mahović, Stanko Špoljarić, Rašeljka Bilić, Romina Peritz, Davorin Vujičić, Draženka  Jalšić Ernečić , Snježana Kauzlarić, Romana Tekić, Kristina Tamara Franić, and others. His compleate works can be find in public institutions and spaces, as well as in private collections (Croatia, Slovenia, Germany, the Nedtherlands, Italy, Austria, Serbia, Turkey, Great Britain, Spain, the U.S., Chili, and many more). Petar Hranuelli is an active member of the Croatian Association of Artists (HDLU, Zagreb - http://www.hdlu.hr/eng/) since 2006. He lives and works in Zagreb and Rasoja, Croatia.

Individual exhibitions :  

Dubrovnik, Karlovac, Lopud, Lovinac, Oroslavje, Palmižana, Postira, Pula, Rijeka, Split, Supetar, Samobor, Skradin, Zagreb, Zaprešić .   

Collective exhibitions : 

Antalya  (Turkey), Bale, Banjole, Brežice (Slovenia), Dubrovnik, Gospić, Kaštel Lukšić, Karlovac, Hvar, Osijek, Omišalj, Postira, Požega, Rijeka, Rovinj, Slavonski Brod, Split, Sv.Martin pod Okićem, Sisak, Samobor, Szmbathely (Hungary), Ston, Trogir, Vinkovci, Velika Gorica, Zadar, Zagreb, Zaprešić.   

Public works :

Gospić - Park ( Venera, 2008./ Venus, 2008), Lovinac – Sekulići ( spomen obilježje 2009./ public remembrance monument, 2009), Sirnitz- Schloß Albeck - Austia  (Sculpture parks ,Venus, 2015.)    

Artist colonies :

Antalya (Turkey), Alilovci, Karlovac, Knin, Gospić, Lovinac, Novska, Omišalj, Rab - island of Rab, Split, Ston, Sv.Martin pod Okićem,   Sirnitz- Schloß Albeck (Austria),  Zaprešić, Zagreb.   

Awards - acknowledgements :

Mali Lošinj- island of Mali Lošinj (1992), Pučišća – island of Brač (1994), Zagreb (2007), Antalya (Turkey, 2010)

www.petarhranuelli.com

likovni.umjetnik@gmail.com

+395 95 8623 324