Tvrtko Buric born November 6, 1982 in Bjelovar (Croatia). He begins his artistic activity in the studio of the painter Mazuranic in Zagreb. In the same city will receive a degree in Interior design at the School of Art and Design. After high school he went to Genoa, where he start to study Industrial design, after that he study a specialization in product design in 2010. Currently lives and works as a freelance in Italy.
2010 Master Degree in Product Design, University of Genoa, (Italy) Faculty of Architecture
2008 Degree in Industrial Design, University of Genoa, (Italy) Faculty of Architecture.
Buric's installations evokes the old Futurist dream of capturing the psychosomatic effect of modern life. The shattered human form advances through the space of a gallery, fiercely pushing through the ether while also being remodelled by the tension of this pursuit. Back in 1913, Umberto Boccioni attempted to depict the condition of progress in the new modern age when he created then revolutionary bronze sculpture 'Unique Forms of Continuity in Space'. Opening the figure so its surface (the flesh) flickers back in a fluttering, flame-like manner was Boccioni's attempt to translate into the third dimension Futurists idea of dynamism and realise the relationship between the object and its environment. "Let us fly open the figure and let it incorporate into itself whatever may surround it," he proclaimed. A century later, Buric developes Boccioni's idea even further and carries forward Futurism intentions. In Boccioni, the human body is reshaped, as if the new conditions of modernity were producing a new man. The surrounding environment intersects with the moving figure and is imbedded in its muscular lines; the calves melt as if moulded by the wind of their passing. Buric's installation conveys a similar sense of interaction between the body and the environment, suggesting both the balletic conjunction between the two (i.e. the body adopts to its environment) and the strain inflicted on the human body which results in the breakage. In order to reproduce the psychosomatic effect of the accelerated lives we all live, Buric, like Boccioni, opens the figure and shatters its form. Rather than seeing just an object, we can sense the forces acting upon it. These are the forces of speed and restlessness of modern life, underneath which it is impossible to maintain equity and composure, to contain oneself. The human form, thus, literally breaks. Buric finds the way to most faithfully represent the condition of modern life (i.e. the pressure of capitalism and globalisation); the condition that traditional art-media of painting and sculpture techniques can no longer adequately express. At the same time as he suggests the fragility of the human body and the calamitous effect of modernity, Buric also depicts a sense of human durability and rigour. In the midst of a chaos, we see a fist emerging like a phoenix, suggesting the figure's desire to advance through the space, an innate passion for life. Perhaps one could speak of energy and a freedom of movement in technologically advanced, globalized world? Perhaps Buric's figure is not a victim, but a ferocious warrior comparable to Boccioni's gleaming hero who forcefully strides forward towards the progress, into a better future. One struggles to decide whether Buric's vision of modernity is gloomy, dramatic or romantic, or perhaps a mixture of it all. And it is precisely here, in this ambiguous and uncertain reading that the beauty of Buric's work lies. Never didactic, the work opens the space for interpretation, inviting the viewer to participate in its making by completing its narrative. While we are tempted to search for the storyline behind Post Human – for Buric leaves us with enough recognisable forms, such as the human torso or afore mentioned fist, to do so - in Buric's other installation Line Life the narrative becomes entirely superfluous. Here, the representation gives way to pure abstraction and, as a result, rather than observing the work from the outside (unravelling its meaning) we are now pulled in, surrounded by the lines of force that again frenziedly advance through the gallery walls, moving in all directions. Perhaps, one could draw a parallel between this work and Jackson Pollock's canvases. Apart from the total reduction of vivacious colours - which Pollock was found off - there is enough of a reason to draw a parallel between these two artists if only for the similar 'all over' effect and the uncontrollable force of lines splashed in a spontaneous, expressionist manner. It is as if Buric has translated Pollock's painting into a third dimension. As if the artist's paintbrush has escaped the edges of the canvas, painting in space rather than being contained by a limited frame of a canvas. Like Pollock, Tvrtko creates work that is not preplanned and pre-sketched but a spontaneous and rapidly produced expression of his state of mind, a pas de deux between him and his medium. But while the viewer of Pollock remains removed from the work, observing it from the outside, here s/he is entirely surrounded by it, wishing to move between and underneath the suspended lines in order to capture the work from its various angles. Captured by and sheltered by the lines, the viewer becomes its performative part. A desire to enter the work and move within it is also a desire to discover all the fine details such as the somewhat unexpected branches and delicate leafs, a living organisms that emerge from seemingly cold, inorganic graphic form (i.e. the line). The abstract, thus, intermingles with non-abstract, artificial with natural / organic and we witness a moment when inarticulate line gathers a recognizable shape; when the artist's hand creates a recognizable image. Buric literally paints in space. Unlike Pollock his 'brushwork' results in concrete forms and the viewer gets to experience the creation of a representational painting (although here the painting is 3-dimensional, the lines frozen in space rather than dried on canvas). Buric's line is alive - it breaths with possibility - hence, Line Life. by Ira Ferris, Sydney based Art Historian and Curator, https://artiris.wordpress.com/