During my studying days came to me that painting brush is as a hampering extension of my hand. Ever since then, I have built my paintings, so some call them picto-objects. I enjoying the feel of them under my fingers. I believe that the working process and the enjoyment of it is as important as the ultimate impression. I belong to that group of artist which is still deemed traditional, because I believe in the aestetic quality as one of the prerogatives of a art work.
Biography: ANA KRLEZA BIOGRAPHY: Born in Zagreb, on February 5th, 1966. Graduated from the Academy of Fine Arts in 1997, as an art teacher in the class of professor M. Sutej, with painting as her main subject. As an undergraduate, she participated on 1992 and 1993 group exibitions in Zagreb, in Vladimir Nazor, SC, and Gradec picture galleries. She lives and works in Zagreb. Individual exhibitions: 1994, CEKAO Gallery, Zagreb - photography exibition 'Shadows Conceal Time' 1998, Ideal City Gallery, Zagreb - photograps, 'Challenge of Negation' 1999, Juraj Klovi? Gallery, Rijeka - relief paintings 'Naves Nostrum' 2000, Dora Art Gallery, Varazdin - relief paintings; together with M. Kumbatovi? and Lj. Buble - Dragojevi? 2001, Zagreb-CEKAO Gallery, Zagreb - exhibition of masks 'The Masks' 2002, Spektar Gallery, Zagreb - paintings and sculptures; without name Group exhibitions: 2000, Grad Gallery, Rijeka - 'The Mask of Croatian Painters and Sculptors' 2001, gallery of the Town's Museum of Makarska - 'Duration of Heritage', original project of M. Bari?evi?, together with 8 other artists >From the reviews: Natasa Stipanov: Artistic production of Ana Krleza uses and analyses two incongruously disimilar media. First and foremost, there was photography. After having painted with light, Ana commenced with rice paper, using it in a complex combination of various kinds of paint and applications. By the means of crushing, kasiranje (the process of dipping paper into glue and arranging it in many layers), and painting of paper on a hard surface, a genuine atmosphere of an old piece of art is invoked. Sometimes realistic, sometimes stylized, the paintings od these ships are firmly linked with their authentic historical counterparts.Thus, the name given to the exhibition itself - 'Naves Nostrum', is a geographically located segment of Croatian history. The ships brought to us by Ana are not so volatile in their realization and techical aspect, as the scale of colours they use is distinct in a way that opens an interesting and dinamic game. In an almost ascetic repetition of theme and motives, we can read out a very subtle, yet convincing aesthetic game.Harmony of details interpolated on a static motif both puzzles and fills us with wonder; the motif which, nonetheless, does not lack the wind in its sails. Artistic shape of Ana Krleza's works is, above all, a consequence of a poetically moved female soul, looking for a dream within the given framework of the world of facts. Marina Baricevic: The masks of academic painter Ana Krleza are the unique pieces ar art: relief paintings, assemblage-objects. Without reference or historical background. The author's experience of the mask emerges exclusively from its picturesque aspect which is why the mask is built of diverse materials, the basis being rice paper. Devoid of the burden of tradition, the painter plays in a way characteristic of youth and explorer's curiosity; the masks are creative inter-cycles in the opus, in which the elements of tradition, together with the painter's poetics form its two recognizable and beneficinet traits . Visnja Slavica Gabout: Ana Krleza treats her paitnings as places of playful games and memories. They become imaginative and talkative picture-books, dreamy memory albums in which, artfully and with inspiration, with the feeling of joy and melancholy, she paints childhood tales and miths of long ago, of folk poetics and joyous fantasy. Three main motives are nurtured, varied, and modified: ships, masks, and trees. Strong and metaphorical, rich and morphological potential of the motives impregnated with deep symbolism, grants them the ability of communication and clarity, makes them evocative, as well as fluid and metaphisical.The trees are connected with the idea of constant and cyclic renewal of life, bearing the notion od fertility, mortality, and eternity; both cosmic and human. The author handles relations between volume and space, mass and surface, fulness and emptiness in a way that she transforms the three-dimensional physical reality into the two-dimensional one.Reality and illusions are met somewhere at the edges of the painting.
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