Kroz kamen, kroz vodu, kroz miris, kroz boju..

Through the stone, through the water, through the smell, through the colour

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Picture within picture

Ono što karakterizira to putovanje jeste vezivanje za jednu pojavu, krecuci se uvijek od vizualne inicijacije. U svakoj novoj grafici Handukic otkriva novo i zacudno jedne pojave i zacudno, ne stvaranja, nego 'obicnog' postojanja. Kako Handukic putuje - sa radošcu i ushicenjem ? Cini se da ovi karakteri dominiraju. Ali, može se osjetiti i strah, bolje reci uzmak od siline otkrivenog svijeta. Od jakosti prikrivenog bogatstva oblika i znacenja koje nosi bilo koja slika svijeta koga vidimo. Ovdje ima smisla postaviti pitanje da li se smije svijet naoko skrivenog otkrivati i smiju li se tajne raskrivati ? Zar tajnama nije sudeno da ostanu tajne ? Irfan Handukic intuitivno zna smisao ovog pitanja i kroz sam akt stvaranja - grafickog urezivanja, grebanja i utiskivanja simbola, traži odgovor. Handukic putuje i otkriva nacin da, obrcuci jedan list, u svakom novom uglu videnja otkriva jedan drugi, zacudan i razlikovan svijet. Mnogobrojne svjetove, koje jedan jedini svijet posjeduje! Onda Handukic obrce list bezbroj puta, pa ga gleda, pa muse cudi i divi, iznova i iznova, pa ga obrne…

Sve Handukiceve grafike iz ciklusa povezane su unutarnjim smislom. Tu vezu karakterizira takoder likovna i znacenjska razvojnost koja se u zadnjim ciklusima okoncava i smiruje u jednoj specificnoj formi. U svojevrsnom pleteru i meandru, pravougaonoj ritmizaciji koja je sama "šara apsoluta". Do pojave ove forme, Handukiceve slike su zasnovane na siluetarnim osnovicama ili svojevrsnim izrescima svijeta koje daju tek polje izvanjskosti pojave i povezivanja unutarnjih slika. Sad se fragmentarno javlja okvir satkan od navedenog meandera, izvan, ali ponekad i unutar tamne izrezine. Ponekad kontrastno taman, ali vecinom, meander je svijetao, odnosno kontrastan po svjetlini, tvoreci suhi otisak apsolutno nematerijalnog. Ponekad, njegova ritmicka šara zatvorena je u formu trougla, poznatog simbola apsoluta. Principijelno, meander je postavljen izvan slike, postavljajuci se kao hijerarhijski najviša forma. On je, zapravo, svojim karakterom otklona eksplicitnog znacenja, i shematizma i ornamenta, otklon i nadilaženje od slike. Buduci da biva modul i odreduje sva djelovanja i iskaze likovnog unutar jednog grafickog lista i istraživanja jedne pojave i njenih slika, on prekriva sve slike, bivajuci svojevrsna sveslika. On je mjera koja odreduje sva druga pojavljivanja. Pažljivije promatranje ce otkriti da to može biti i modul proporcioniranja samog grafickog lista. Meander može biti i osnovica i model razlicitih uoblicenja, gdje dolazi do izražaja slicnost njegove morfologije sa iskazom arapskog kufskog pisma.

The travel is characterised by relating to a single appearance, starting always from a visual initiation. In every new graphics, Mr. Handukic discovers new and strange within a single appearance, not of a creation but of a "usual" existence. How does Mr. Handukic travel - with a joy and enthusiasm ? It seems that these characteristics dominate. But, you can sense a fear as well, retreat form the intensity of discovered world. From the strength of plenty of hidden shapes and meanings, which are brought by any image of the world that we see. It makes sense to put a question if it is allowed to expose the world of the hidden and if it is allowed to reveal the secrets. Aren't the secrets supposed to remain secret ? Mr. Irfan Handukic intuitively knows the meaning of this question and by the sole act of creation - graphical engraving, scraping and imprinting symbols, he searches for an answer. Mr. Handukic travels and discovers by turning a leaf, in each new angle of vision he discovers a different, strange and heterogeneous world. Plenty of worlds, that just a single leaf of a tree possesses. Then he turns a leaf upside down countless times, he watches it, he admires it, again and again, then he turns it…

All Mr. Handukic's graphics of the cycle are connected by the internal meaning. That link is also characterised by artistic and meaningful development which ends in the later cycles and calm down in one specific form. In certain rectangle rhythmic which is itself "an ornament of absolute". Until this form has appeared, pictures of Mr. Handukic were based either on contour basis or on a specific cut outs of the world which were giving just a field of outage of an appearance and linkage of internal images. Now the frame appears in fragments made of meander, outside, or sometimes inside the cut out. Sometimes meander is dark in contrast, but it is mostly bright, bright in contrast creating dry print of absolutely non-materialised. Sometimes, its rhythmical ornament is shaped into form of triangle - well-known symbol of absolute. In principle, meander is set out of the picture, as hierarchically the highest form. It is, actually, in its character a variation with an explicit meaning, and ornament, a variation and surpass of the picture. Since it is a module and it determines all functions and all expressions of an artistic within a graphics as well as explorations of an appearance, it covers all pictures, becoming by that a sort of general picture. It is a measure which determines all other appearances. By carefully observing, one can see that it can be a module of proportioning a graphics. Meander can also be a basis and a model of a different shaping, where similarity of its morphology and a expression of Arab letter is being evident.

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Naslovi reprodukovanih grafika Ciklus
"Uns muayana III. ( Bliskost videnja III )

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Titles of Reproduced graphics Series :
"Uns Muayana III" / Closeness of vision III /

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