Autor: NemosDesign

U DRVETU PROCVETAO KAMEN

Bokićeve skulpture

U drvetu procvetao kamen
pod kristalom Neretvljanske suze
ruka čoveka na sebe zaneseno uze
da okonča mlekom sunca započeto delo.

U drvetu procvetao kamen
umesto laticom, čednim licem žene diše, sanja, pulsira probuđeni oblik dletom što ga obnažuje i dotiče mene.

U drvetu procvetao kamen
i treperi cvrkut iz kamenog gnezda
gle kako se čovek i drvo i kamen prepliću u vitak most od ruke do zvezda.

Bosiljka Pušić, 1981. Mostar.

…Centralna mu jeste tema neraskidiva povezanost, simbioza drveta i kamena kako ih Bokić nalazi u kršnim vrletima svoje domovine. Drvo, izgleda, nikad ne obrađuje grubim zamahom. Biće da vodi svoj alat poput češala. Tako se pred očima zadivljenog posmatrača drvo pretvara u kožu, krzno životinja. Oprezno umetnik obnažuje tu strukturu: čvorovi u drvetu počinju da bivaju čuperci dlaka, predeli sa vijugama se pretvaraju u talasasto ili čupavo krzno, ravni predeli u oštre dlake, čak i u perje. Za to treba imati sposobnost viđenja. Bokić poseduje taj dar. I bujnu maštu. I neverovatnu stvaralačku snagu. Pod njegovim prstima se rađaju nadnaravna bića koja kao da traže od posmatrača da ih dira, miluje, lupka rukama, da svojim prstima precrtava njihovu strukturu. Onda kamen: u drvetu kao u gnezdu, neraskidivo srastao. Sanjarski razmišljen pogled žene, beskrajni mir kojim diše umorni drug, rogovi – samo delimično obnaženi – a ostatak, čini se, počiva još pod drvetom. A odjednom: Neko dahta širokim nozdrvama i neobuzdanom snagom… Bik, sav zbijen, kao da hoće udariti na posmatrača!
A sam posmatrač? Teško će onaj koji ulazi u gravitaciono polje ove umetnosti ostati ravnodušan. Ona ima takvu iskonsku snagu da svog posmatrača u trenutku raspoloži.

Sabine Kirfel,
Dr. Prof. slavistike
na Umbolt univerzitetu u Berlinu, 1995.

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(ENG)

…His central theme is the unbreakable connection, the symbiosis of wood and stone, as Bokic is finding them in the karst craggy areas of his native land. He seems to be never working in wood with a rough swig. He must be leading his tool like a currycomb. Thus before very eyes of an amazed viewer the wood turns into skin and fur of animals. The artist cautiously lays bare that structure. The knots in the wood are beginning to be tufts of hair, the section with whorls are transformed in either a wavy or bushy fur, the level sections become rough hairs, even feathers. To do this, one should have the ability of sighting. Bokic is possessed of that gift. And an exuberant imagination. And a remarkable creative power. Supernatural creatures are being born under his fingers, that appear to be asking from the spectator to touch, fondle, and pat them, to make a copy of their structure with his fingers. And then, the stone: in the wood as in a nest, permanently knitted together. A visionary thoughtful gaze of a woman, the boundless peace with which a tiresome friend breaths, the horns-only partially uncovered – and the rest, it seems, is still buried underneath the wood. But suddenly: somebody is blowing with wide nostrils and unrestrained force… A bull, all crouched, as if it is about to make an attack upon the spectator!
And the spectator himself? It is unlikely for someone entering the gravitational field of this art to remain indifferent. Its primordial strength is such that a spectator is put into a good mood momentarily…

Sabine Kirfel,
Dr. Prof. of Slavonic studies
At Umbolt University in Berlin, 1995.

..Ono “iskopano” sa punim pravom nadvlađuje; umetnički zahvat ne deformiše, nego pomaže pri rađanju novog života. Nečemu što je već tu, jednom prirodnom smislu pridodaju se novi akcenti, a tako se u Geteovom smislu rađaju umetnička dela koja sama sebe izražavaju. Ova dela dozvoljavaju širok spektar interpretacija i odbijaju “dodeljivanje ” naslova ili definicije kako bi izbegli da budu lišeni začaranosti putem bitisanja u nekom jezičkom obliku. Rat u nekadašnjoj Jugoslaviji prekinuo je i estetsku postojanost Bokićevog dela u stilističkom smislu. Na svojoj trećoj Berlinskoj izložbi umetnik pokazuje tri predmeta kojima je svojstvena očita promena u umetničkom izrazu, a koji samim tim predstavljaju novu generaciju skulptura. Najveći objekat ove grupe na zidu ima dužinu od 1,30 metra, a sastoji se od ukupno osam fragmenata korenskog drveta povezanih kao udovi kratkim, ali grubim konopcima. Posmatrač ove kompozicije otprilike ima utisak jedne vage bez postolja. Strogošću geometričke redukcije na jednu šemu, na formulu od beskompromisne simetrije, Bokić uspeva da pokaže maksimalni minimum na granici ničega. On pokazuje čoveka paralizovanog u stanju između onoga što se još nije dogodilo i onoga već prošlog, kao isušenu pojavu na putu ka kosturu, na rubu ponora. “…

Manfred Milz,
istoričar umjetnosti, 1995.

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(ENG)

…Whatever is “unearthed”, fairly rightfully gets the mastery. Artistic operation does not deform but rather gives assistance at birth of new life. New accents are added to something that is already there one natural sense, and in such a way, in the sense of Goethe. The creations of art are born which are expressed by themselves alone. These works allow of a wide spectrum of interpretations and refuse the “assignment” of a title or definition, in order to avoid being deprived of their bewitchment by way of existence in a linguistic form.
The war in ex-Yugoslavia interrupted also the aesthetic steadfastness of Bokic work in the stylistic sense. At his third Berliner show the artist displays the three things of which an obvious change in artistic expression is typical, and which, in them selves, represent a new generation of sculptures. The biggest object of this group on the wall has 1.30 meters in length, and is made up of eight fragments of rooty wood altogether, tied up as limbs, with short but coarse ropes. The spectator of this composition gets about the impression of a pair of scales without base. With strictness of geometrical reduction to one scheme only, to a formula of uncompromising symmetry, Bokic succeeds in demonstrating a maximal minimum on the bounds of nothingness. He shows a man paralysed in the situation between what has not yet happened and what has already passed, as a dessicated figure on the way to skeleton, to the edge of abyss…

Manfred Milz,
Art Historian, 1995.

ZA MILIVOJA BOKIĆA

SNOVI
KAO PJESAK
CRPIMO
SNAGU
IZ ONOGA
ŠTO
OSTAJE

Milivoje Bokić je umetnik koji se upušta u tihi dijalog sa drugim, sa životom punim dubokih osjećaja između ljubavi, patnje, rađanja i smrti.

Milivoje Bokić nas odvodi sa svojim snovima iz drveta i kamena u čaroliju bezkrajne poezije koja dolazi iz dubine svoga ja.
A iz te tišine osećamo njegovu snagu rođenu iz njegove duboke ljubavi prema ljudima.

Dr. Petra Evers, slikar i pjesnik /Iz predgovora za katalog izložbe u Berlinu 2004/2005.

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(ENG)

FOR MILIVOJE BOKIC

DREAMS
LIKE SAND
WE DRAW
STRENGHT
FROM WHAT
REMAINS

Milivoje Bokic is an artist who enters a silent dialogue with others, with a life tull of deep feelings among love, sufferance, nativity and death.

Milivoje Bokic takes us away,
with his dreams, from wood and stone into the magic of boundless poetry, coming from the profundity of his own self. And from that silence we can feel his powers brought forth from his deep love towards people.

Dr. Petra Ewers,
Paintress and Poetess EXIBITION IN BERLIN/PREFACE TO CATALOGUE IN BERLIN/2004/2005.

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(GER)

Der Bildhauer Milivoje Bokic

Lebend
auf den Flügeln
einer Fantasie
lädt er mich ein
zu spüren
in der Wärme
seines Holzes
das verborgene
Gesicht
im kühlenden
Stein.
Eingelassen
auf die Stille
seiner Poesie
fühle ich
die Kraft
seines verletzbaren
Inneren
wie einen
reißenden Strom
behutsam
in mir.

Petra Ewers

 

MILIVOJE BOKIĆ, SKULPTOR

Milivoje Bokić je umjetnik sa potpuno izgrađenom umjetničkom fizionomijom, čija je izložba skulptura izuzetan doživljaj. Iz njegovih skulptura snažno i opsesivno struji život, oplemenjen prirodnošću, misaonošću i liričnošću, postojanošću i tvrdokornošću, vjerom i optimizmom.
On sa fascinantnom lakoćom koristi poruke same prirode u simbiotičnom zagrljaju korjena i kamena, i sav taj nadrealistički oblik pojmova i sadržaja nevjerovatnih prirodnih oblika, i s lakoćom i znalački ih prevodi u blistavi svijet svojih skulptura. Bokić pomaže prirodi da dosegne umjetnički oblik prateći suštinu starog korijenja, to čudo prirode, koja se nigdje tako raskošno ne ispoljava kao u oblicima starog stoljetnog hrasta, jasena, graba …, koje u potrazi za oskudnom hercegovačkom zemljom obgrljava i zarobljava kamen. Iz tih čudnih oblika on izvlači čudesne forme iz svijeta snoviđenja, koje ponekad dovodi do perfekcije moderne skulpture. Tako, vizionarskom posebnošću gradi složene, monumentalne i asocijativno višeznačne i tajnovite kompozicije od kojih je svaka jedan univerzum i ostvarena slutnja nečeg drugog (“Buket”, “Muzika”, “Postanje” …).
Jasnoćom izraza i bogatstvom mašte Bokić je kao pjesnički modelator ljepote prirodne postojanosti, svojom virtuoznošću pokazao kako izvanredno razvijen osjećaj oblikovnog zapažanja i
stvaranja može da pokloni bogat raspon čiste ljepote u varijacijama.
Iz njegovih (“Buket”, “Cvijet 1”, “Cvijet 2”) izbija snažan osjećaj za plastične vrijednosti naglašene ritmizacije i mnogostruke asocijativnosti, dok je u skulpturi “Misli” usmjerenje na psihološkoj produhovljenosti lika.
U Bokićevom stvaralaštvu cilj djela je životnost, tj. život, koji prikazuje kako ljepotu prirode, snagu, oporost, toplinu i ljubav, tako i tegobu i grozu kataklizma i smrti, što je ostavilo u njemu traga pa su nastale skulpture (“Prepoznanje” i “Kompozicija”) koje imaju duhovnu vitalnost i prodiru dublje u dušu.
Kako u skulpturama, tako i u crtežima, Bokić stvara neobične aglom-eracije, gdje kroz mrežoliku strukturu provejavaju zoomorfni i ljudski oblici u masi tkiva stamenih stijena kamenog pejsaža (hercegovačkih brda). Tu su fino zalančeni vijugavi potezi olovkom, nalik na arabeske, crtani znalačkom rukom a vođeni srcem i dušom.

U tim asocijativno-višemislenim strukturama preovladava razuđeni kompozicioni poredak gdje se ističe unutrašnja struktura, nastala u spoju automatizma i opčinjenosti ljepotom prirode i života u njoj.
Umjetnik traga za unutrašnjom pokretačkom snagom, koju posjeduje sama priroda, a koju on rastvara i pretvara u prirodne forme ljepote; tako je volumen rastvoren i slobodan i u njega zalazi, zavlači se prostor, čineći zajedno jedinstvo skulptorskog djela koje se nameće gledaocu svojom cjelovitošću kao trodimenzionalna masa.
Specifična Bokićeva forma nosi elemente apstrakcije i nadrealnog, romantičnog i klasičnog, intelektualnog i imaginarnog, nalazeći u svemu tome ravnotežu i dajući joj puni misaoni i emotivni sadržaj.

Veseljka Salatić,
istoričar umjetnosti, 2008.

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(ENG)

MILIVOJE BOKIC, SCULPTOR

Milivoje Bokic is an artist with a fully developed artistic physiognomy, whose exhibition of sculptures presents an extraordinary experience. Life is streaming forcegully and obsessively from his sculptures, ennobled by naturalism; thoughtfulness and lyricism; steadfastness and obstinacy, faith and optimism.
With a fascinating lightness, he uses the mesages of the very hature in the symbiotic embracement of wood and stone, and all that serrealistic structure of notions and contents in the incredible natural formations, he translates, with facility and knowingly, into the glittering world of his sculptures. Bokic assists the nature to reach an artistic appearance by following the essence of old rootage, that marvel of nature, which is nowhere so luxuriantly emergent as in the shapes of a hundred years old oak-tree, ash, hornbeam …, and which, in quest of the meagre Herzegoviner soil is hugging and capturing the stone. From those strange moulds he draws forth wondrous forms of the dream-world, which occasionally lead to perfection of modern sculpture. Thus, with a visionary speciality he builds the complex, monumental and associatively ambiguous and mysterious compositions, every one of which is one universe and anapprehension of something else that became a reality (“Composition”, “Music”, “Genesis”). 

With clarity of expression and luxuriance of imagination, Bokic as a poetical modeller of the pulchritude of natural steadiness, has shown with his virtuosity how an extraorinarily developed sense of moulding observation and creation could present one with an ample range of pure beatuty in variations.
From his “Bouquets” emanates a strong sense of sculpturesque valves of a pronounced rhitmization and multiplex associativeness, while in the sculpture “Thoughts” the accent is on psychological
refinement of the figure.

In Bokic’s creativity, the object of a work is the vitality, that is, life, which he renders either as the beauty of nature, force, hardness, warmth, and love or as the distress and horror of cataclysm and death, what cast a shadow aeross him, and so ensued the sculptures: “Recognition” and “Composition” which have a spiritual vitality and penetrate one’s soul deeper.

In sculptures as well as in drawings Bokic produces unusual agglomerations, where zoomorphic and human forms permeate through a net-like structure, in the mass of solid rock texture of the rugged landscape (Herzegoviner hills). Those are finely concatenated, twisty strokes of the pencil, resembling arabesques, designed by an expert hand and led by heart and soul. In those asociatively-multiple meaning structures
predominates a dissected order of composition, where the inward structure is outstanding, originated in the juncture of automatism and fascination by the beuty of nature and its immanent life.
The artist is searching for the inner driving force of which the nature itself is possessed, but which he dissolves and transforms into natural forms of beauty; thus the volume becomes dissolved and vacant, and the space stretches, crawls inside, making together a unity of sculptural work imposing upon the spectator with its entirety, as a threedimensional mass.
The specific Bokic’s form bears the elements of the abstract and surrealistic, romantic and classical, intellectual and imaginary, striking a balance in all that, and giving it a full reflective and emotive content.

Veseljka Salatić
Art Historian, 2008.

” … Iz široke nozdre
Para mu bije…”

Takav kakav je, “Bik” je i sušta realnost (živa umjetnost) i više od realnosti (nadrealnost) pa čak i fantastika! Poklonik hiperrealizma bi tu našao ponešto i za sebe, kao što je ono čudesno nabiranje kože i kovrdžanje dlake na vratu.
Poučen tom prirodnom sponom kamena i kori-jenja ovih drevnih dubova iz zavičaja u još nekim djelima (“Rađanje”, “Glava slona”, “Lav”) i sam ih je spajao, razvijajući, zatim, na novoj cjelini čarobnu fantaziju reljefne dekoracije, kao na “Pužu” iz 1975. godine. Prema tome, Bokić je i klasičan i moderan u isti mah i, najmanje, dvostruko aktuelan. Okrenut prirodi (u vrijeme kada je mnogo “civilizovanog” svijeta bezumno okrenuto od nje) on u njoj nalazi i aktuelnost trenutka u umjetnosti, i modu u svijetu. “

Miloš Radić,
istoričar umjetnosti, iz kataloga 1980.

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(ENG)

“… From gaping nostrils
Steam explodes…”

Such as it is, “Bull” is pure reality (living art) and more than reality (surrealisam) and even fantasy! A disciple of hyperrealisam would also find something in this work, such as the marwelous wrinkled hide and curly hair of the neck.
Instructed by that natural bond between stone and roots of the ancient oaks of his native region, in certain other works (“Birth”, “Elephant’s Head”, “Lion”) he has joined them himself, thus developing, in new entities, a marvelous fantasy of relief decoration, as in “Snail” from the year 1975.
Bokic, therefore, is both classical and modern at the same time and, at least, doubly of this time. Turned towards nature (at a time when much of the “civilized” world has senselessly turned its back on it), he finds there both the actuality of the artistic moment and fashion in the world.”

Miloš Radić,
Art Historian, 1980.

Milivoje Bokić … “u svom ljubomirskom kraju, visoravni između Bileće i Trebinja, sam, u dugim lutanjima po tim hercegovačkim vrletima pronalazi materijal za svoja dela. Svojim veštim okom otkriva pa onda otkopava koren graba ili hrast koji je obgrlio kamen, donoseći tu sirovu prirodu u Mostar, gde u ateljeu ravnodušna materija dobija preko potrebnu duhovnost, a prirodna grubost “finoću” ljudskog dela. Otuda normalan zaključak da Bokić poznaje dušu materijala u kome radi, a da je baveći se oblikovanjem drveta još od detinjstva izveštio svoju ruku do stepena koji izaziva divljenje. Skoro da i nema ideje koju ta vešta ruka, u kojoj je veliko iskustvo i znanje, nije u stanju da realizira”… “Iako Bokićeve skulpture pokazuju zavidnu raznolikost, kako po vrsti materijala (orah, hrast-kamen, grab-kamen) tako i po spoljašnjem figuralno-oblikovanom karakteru, koje se tako i mogu grupisati po srodnosti same materije kojoj se umetnik prilagođava, one su sve prožete istim duhom koji čini svet njegove umetnosti jedinstvenim”… “On je sačuvao duh i dah neposrednog doživljaja sveta dokučujući svojom umetnošću osnovni zakon po kome priroda sama živi. Dovodeći suprotnosti do one razine kada se između njih uspostavlja ravnoteža, koja je zapravo bitno obeležje njegovog dela, Bokić stvara jedan neobičan svet koji i pored svoje rustičnosti ima karakter idealnog.”

Profesor Rade Prelević,
iz kataloga, 1981. Užice.

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(ENG)

Milivoje Bokic “in his old country of Ljubomir, the upland between Bileca and Trebinje, alone, in the long roamings over those Herzegoviner craggy stretches, he locates the material for his works. With his able eye he finds out and then unearths the root of a hornbeam or an oak-tree hugging a rock, bringing that raw nature to Mostar, where, in his atelier the indifferent substance receives the absolutely necessary spirituality, and the natural crudity – the “fineness” of human action. Hence the logical conclusion that Bokic knows the soul of the material in which he works, and that he, having been engaged in wood shaping way back since his childhood, has acquired the skill in his hand to a degree arousing admiration. There is almost no idea which that skilful hand, possessing great ehperience and knowledge, is unable to realiye”… “Although Bokic's sculptures reveal an enviable variety, according to the kind of material (walnut, oak-wood-stone, hornbeam wood-stone), as well as according to external figuratively moulded character, which could be also grouped according to kinship of the very substance to wich the artist adapts himself, they are all imbued with the same spirit mailing the world of his art unique”… “He preserved the spirit and breath of the immediate perception of the world, grasping with his artistry, the fundamental law by which the nature itself lives. Carrying the opposites to the level when an equilibrium established among them, actually an essential trait of his work, Bokic creates an unusual world which in spite of its rusticity has a character of the ideal.”

Profesor Rade Prelević,
Catalogue, Užice, 1981.