Mario Čaušić - visual artist

I was born in 1972 in Osijek, Croatia. I graduated from the Academy of Fine Arts in Zagreb in 2001

Currently i live and work in Osijek as assistant professor at the Academy of Arts in Osijek. I have taken part in numerous solo and group exhibitions.

In my own artistic work i am dedicated to exeprimental exploration of space and its manifestations as well as broadening the boudaries of the medium.

If You are intrested in purchase of my works or organising an exibition, feel free to contact me on the following e-mail: mcausic@yahoo.com

utorak, 22. listopada 2019.

THREE ROOMS

EXHIBITION "THREE ROOMS" IN GALLERY OF FINE ARTS, OSIJEK, CROATIA, 2007.











-PLACE- woodcut on transparency, dimensions 475x210cm, year 2007. Installation in Gallery of fine arts in Osijek









 -DIMENSION- woodcut on paper, 135x585 cm, 2007.












UNTITLED










 Cuting "UNTITLED"


ponedjeljak, 21. listopada 2019.

BRISANJE- ERASING



















SIDE EFFECT

The work entitled Side effects is a multimedia work composed of two interconnected works created in two phases and devised for two independant gallery displays. It includes a drypoint print and a video of the work creation process at a gallery preceeding the printing process in the artist's studio.  The original part of the work was a gallery installation consisting of a metal plate 100×100cm placed on the gallery floor and the patent  composed of a heavy lath with a drypoint needle at its top attached to a chain hanging from the ceiling. It was conceptually envisaged as a multi-layered and interactive art patent being a hands-on installation which was to incite the visitors become active participants and involve in the creation of the work by moving the pendulum arbitrarily and randomly thereby scratching lines into the metal plate. This proces was partially filmed and transformed into a video. Subsequently, the outcome of the gallery hands-on-by-spectators process was made visible by traditional drypoint print on paper excluding any kind of artist's intervention on the plate. The underlying idea was to display the video and the print one by one on the occasion of a future exhibition representing  an upgrade of the first display as well as a memorandum of the pased time and its side effects.

LINK FOR VIDEO "SIDE EFFECTS"

https://vimeo.com/197528208







        



 
https://4.bp.blogspot.com/-8I1Dq2kdg2Q/Vxdf2ihecYI/AAAAAAAAAdo/j9DDXvW7lRYKu8Vq8LGNZrZdqMuOgeLXgCKgB/s1600/bscap0001.jpg






https://3.bp.blogspot.com/-Es_AlxH_sqg/Vxdf3qJ-fQI/AAAAAAAAAd0/kaLLqPIvD3c6vhe4wu82Ww1aIA3HyJBpgCKgB/s1600/bscap0004.jpg







 






nedjelja, 20. listopada 2019.

PRINTS


MINDCRAFT














CONNECTIONS






















RUINS


Portfolio: Ruins
Plate size: 250x370 mm
Paper size: 350x500 mm
Techniqueaquatint, dry point, open bite


The concept of behind this series of works of equal importance is threefold: conceptual, visual and technogical.
1. Space has always been one of the main areas of interest that marked my career as an artist However, the fact that I have been using different media the approach to this complex phenomenon has also been different. The series of works is based on the assumption that we are defined by our surroundings. Though the works are figurative not referring to any specific living space , they allude to the universal condition present in similar spaces and that can be found anywhere. Our relation to our common heritage is a typical indicator of the spirit of the people, and so is the devastated surroundings its reflection.  In this respect this work is a portrait of the living space and its inhabitants.
2. The visual part of the concept refers to observing, and raising awareness of what we see every day. As Cezanne did with his Mount Saint-Victorie 80 years ago depicting it in ifferent ltimes of the day and weather conditions, my ideaswas also to observe the segments of our everyday environment. The light and its transience  imposed imposed themselves  as important elements since I wanted each work to include this aspect reflecting the universal atmosphere – transience, devastation and neglect of our immediate environment defining us, too.
3. The third part of the work refers to the technological aspect.  For an artist prone to experimenting printing seems to be the most conveninet medium.  Exactly the alchemy is the most inteesting, but also the most exhausting part of the work. Texture, present in all motives, imposed itself as a problem and ifor the reason  I used aquatint in the first phase as the foundation for the further work. If the result had been satisfying, I turned to the second hase in which I created the textures. Combining certain types of detergents with hard ground (asphalt) which I applied to metal surface turned out to bhe the best possible solution. This resulted in unpredictable reactions and textures  corresponding to the motif itself.

Mario Čaušić



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 SA PROMOCIJE U KABINETU GRAFIKE HAZU ZAGREB


Mapa: RUŠEVINE
Veličina matrice: 250x370 mm
Veličina papira: 350x500 mm
Tehnikaaquatinta, suha igla, jetkanica

Ideja za ovu seriju radova može se podijeliti na tri dijela, prvi je idejni odnosno konceptualni, drugi likovni, a treći tehnološki. Iako ova tri pristupa  možda ne bi trebalo tako grubo dijeliti na odvojene segmente, jer  u konačnici oni čine jedan rad, imao sam ih potrebu podijeliti na tri jednako važna dijela zbog lakšeg razumjevanja rada u cjelini.

1. Tijekom moje umjetničke prakse prostor je bio jedan od glavnih pokretača i problem kojem sam se uvijek vraćao. Obzirom na korištenje različitih medija i pristup tom složenom problemu je bio različit. U seriji radova Ruševine krećem od predpostavke da nas okruženje u kojem živimo definira, u većem ili manjem opsegu ali nas se svakako dotiče. Ovdje se, iako su radovi  figurativnog karaktera, ne naginje opisivanju pojedinog životnog prostora već se uvećavanjem segmenata briše granica prepoznavanja  pojedinih građevina i aludira na jedno sveopće stanje koje vlada u sličnim prostorima, koje se može nalaziti bilo gdje.  Odnos prema baštini odnosno onome što imamo i što smo dobili u nasljedstvo  je jedan zoran  pokazatelj duha naroda kojem ta baština pripada. Kako vanjska slika zapuštenog i devastiranog okruženja jasno može pokazati stav prema baštini uopće može biti i jasan primjer unutarnjeg stanja svakog pojedinca koji živi u tom okruženju. Ovu seriju radova ne bih htio prikazati kao kvazi angažirani rad kojim bi se problemi ,na koje se ukazuje riješili nego zapravo svojevrstan portret jednog životnog prostora i njegovih žitelja .

                                      


                                      


2. Drugi dio ideje, likovni (ako ga mogu tako nazvati), koji se odonosi na ovu mapu je zapravo promatranje, zaključivanje i osvještavanje onog što gledamo svaki dan. Tako sam pokušao, gotovo u maniri Cezannea i njegove Planine Sainte-Victoire (Planina svete pobjede) koju je naslikao oko 80 puta u različitim vremenskim uvjetima i pod različitim osvjetljenjem, sagledati segmente okoliša koji viđam svaki dan. Svjetlo se tu nametnulo kao posebno bitan faktor pa  sam želio da svaki rad koji se nalazi u ovoj cjelini nosi i taj aspekt svjetla koje u mnogome oslikava sveopću atmosferu prikazanog, Nije isto pod kojim kutem svjetlo  pada, na određeni motiv,  koje je jačine, u koje doba dana je promatrano pa i u kojem godišnjem dobu. Upravo ta prolaznost koju stvara svijetlo bila mi je zanimljivo kao još jedan aspekt kojim bih prikazao željenu tematiku prolaznosti, devastacije i zanemarivanja okoline koja nas tako jako definira.




3. Dio rada se odnosi na tehnološki aspekt. Kao umjetniku sklonom eksperimentiranju grafika se tu i našla kao najpodatniji teren za moj rad. Jasno postavljene zadatke potrebno je sa doista puno truda i vremena , nekad s boljim, nekad s lošijim rezultatima, riješiti. To tzv. alkemijanje je doista najzanimljiviji dio procesa rada ali i najiscrpljiviji. U konkretno ovom radu Ruševine nametnula mi se tekstura kao problem. Tekstura je prisutna na svim motivima u vrlo različitim oblicima kojima sam se želio približiti što sam više mogao. Nepredvidljive teksture su tražile i takav pristup pa sam početnu fazu, aquatintu, radio kao bazu kojom sam stvarao temelj za daljnji rad. Ako bi rezultat bio zadovoljavajući tada je dolazila na red druga faza odnosno već spomenuto stvaranje različitih nepredvidljivih tekstura kao u motivu koji su prikazivale. Kao najbolje rješenje u ovom slučaju pokazalo mi se kombiniranje određenih vrsta deterdženta sa grundom (asfaltom). Asfalt sam nanosio na metalnu površinu i mješao  sa različitim vrstama deterdženata, pri čemu je dolazilo do različitih nepredvidivih  reakcija ta dva preparata te bih tako dobijao teksture koje su bile vrlo bliske motivu. Nakon sušenja tako nanesenog asfalta deterdžent bi preko noći ispario, a asfalt bi se fiksirao za metalnu ploču. Tako pripremljena ploču  bi  uronio u jetku i jetkao određeno vrijeme ovisno o onom što sam želio dobiti na matrici. Prema potrebi postupak bih ponovio ako je za to bilo potrebe više puta  te matricu doradio suhom iglom.
Mario Čaušić
Osijek, 26. 10. 2017.

                                     



VERTICALS

                             












OTHER PRINTS