sonja marjanovi

kvadrat kruga

sonja marjanovi

Zagreb, lipanj 2012.

Konkretna umjetnost Sonje Marjanovi

Konkretna umjetnost Sonje Marjanovi Konkrete kunst (Art Concrete ili hrvatski, Konkretna umjetnost) jedna je od velikih tema moderne umjetnosti 20. stoljea. Nizozemski avangardni umjetnik Theo van Doesburg (1883. - 1931.) raziao se sa svojim kolegom i prijateljem Pietom Mondrianom. Godine 1911., njih su dvojica osnovali grupu De Stijl i manifestno propagirali geometrijsku apstrakciju, koju su imenovali neoplasticizmom. Mondrian je inzistirao na rigidnim horizontalama i vertikalama, i matematiki izraunatim ravnoteama obojanih polja istih, preteno osnovnih boja, unutar slikarske povrine. Van Doesburg je slikao dijagonalno, premda su i njegovi oblici bile linije, trokuti i kvadrati, kao i u Mondriana. Mondrian se uvrijedio, i dijagonalu smatrao izdajnikom, i prekinuo suradnju i prijateljstvo s van Doesburgom. Ovaj je, nakon to mu je dozlogrdio zadrti Mondrianov stav prema umjetnosti, i prema apstrakciji poglavito, godine 1924. skovao sintagmu Konkrete Kunst, koja se razvija 20. - tih godina 20. stoljea, razvijajui se i irei u svojevrsnoj opoziciji apstraktnoj umjetnosti. I konkretna umjetnost formalno, likovno i vizualno jest apstraktna umjetnost. Usporedba obaju apstraktnih formi, pobuuje revolucionarne i radikalne zahtjeve za novom umjetnou, za avangardnim tendencijama. Konkretna umjetnost izvodi se iz apstraktne i pikturalne umjetnosti sme, i derivacija je geometrijske apstraktne umjetnosti. No, razlika je u tome to dotadanja, prola, apstrakcija, jest na svoj nain bila umjetnost odreenoga objekta, i na taj nain ima referencije u materijalnom svijetu, dok preteno geometrijska apstrakcija konkretne umjetnosti potpuno raskida veze i gubi referencije s materijalnim svijetom, jer je utemeljena na sasvim neobjektnim umjetnikim postulatima. Njezin se smisao usredotouje na uglove, linije i jasno definirana geometrijska polja boje, koji se referiraju sami na sebe, to znai da stvaraju vlastitu umjetniku stvarnost, svojstvenu i bitnu za slikarstvo. K tome, po velikom filozofu klasinog njemakog idealizma, Georgu Wilhelmu Friedrichu Hegelu - koji je iznio sumnju u mogunost razvoja umjetnosti, te godine 1952. proglasio umjetnost mrtvom, no svrstao ju je dakako u zonu apsolutnoga duha - duhovni in u procesu stvaranja umjetnikog djela, daje vizualnu ekspresiju u jasno strukturiranome djelu. Konkretna umjetnost inzistira upravo na hegelijanskoj ideji da je umjetniko stvaranje duhovni proces. U jednom jedinom broju asopisa Art Concrete koji izlazi u Parizu 1930. godine, van Doesburg objavljuje manifest konkretne umjetnosti, u kojemu objavljuje da pikturalni element nema bitno znaenje izvan sebe i da time slikarstvo takoer nema izvanjsko znaenje onkraj sebe samoga. Ujedno konkretnu umjetnost mora karakterizirati ideja da je umjetnost voena zakonima logike, te da je utemeljena na racionalnim principima. Theo van Doesburg 1930. godine u Parizu osniva Art Concrete Group kojoj su pristupili Marcel Wantz, Leon Tutundjian i Jean Hlion. Godinu dana kasnije, 1931., takoer u Parizu, van Doesburg s Jean Hlionom, Georgesom Vantongerloom i Augustom Herbinom osniva grupu Apstraction-Cration i istoimeni asopis s podnaslovom: Lart non-figuratif, koji svojim izlaenjem od 1932. do 1936. vri znatan utjecaj na meunarodno irenje apstrakcije, a zapravo kao opozicijsko drugaije miljenje u odnosu na ondanju apsolutnu dominaciju nadrealizma u Parizu. Grupi Apstraction-Cration pridruuju se: Piet Mondrian (pomirio se s van Doesburgom, sve

radi kontriranja nadrealizmu), Vasilij Kandinsky, Albert Gleizes, Nizozemci Bart van der Leck i Theo Kerg, vicarac Hans Erni, Englezi Marlow Moss, John Wardell Power (koji apstrakciju prenosi u Australiju gdje se seli), Paule Vezelay, Ben Nicholson i supruga mu kiparica Barbara Hepworth, Nijemac dadaist Kurt Schwitters, Alzaanin Hans (Jean) Arp i Japanac Taro Okamoto. Glavni predstavnici konkretne umjetnosti u 1930-im godinama bile su grupe Art Concrete i Apstraction-Cration. Pionirski impulsi konkretne umjetnosti bili su posebno utjecajni u vicarskoj, gdje su je prakticirale grupe poput Zrich Concretists i Allianz Group. Najvaniji vicarski konkretni umjetnici bili su Max Bill, Camille Graeser i Richard Paul Lohse. Apstrakcija je takoer plodno tlo nala u Italiji, gdje su osnovane dvije grupe: grupa Million (Giuseppe Ghiringhelli, Mauro Reggiani i Oreste Bogliardi) i grupa Comasco (Atanasio Soldati, Bruno Munari, Carla Badiali, Luigi Veronesi, Manlio Rho i Mario Radice). Poslije Drugoga svjetskog rata umjetnici konkretne umjetnosti kljuni su utjecaj ostavili na cijelu generaciju slikara Njujorke kole, osobito onih usmjerenih prema slikarstvu Hard Edgea (Elsworth Kelly i Kenneth Noland) i Colour Field Paintinga (Mark Rothko, Ad Reinhardt, Adolph Gottlieb, Frank Stella, Barnett Newmann, Al Held, Alfred Jansen i Theodoros Stamos). Hrvatska moderna umjetnost nije imala izravnog pripadnika neke od grupa konkretne umjetnosti, kao ni apstraktne slikare vezane za meunarodnu scenu. Tek kasnije, iza Drugoga svjetskog rata pojavilo se mnogo apstraktnih umjetnika i u Hrvatskoj. Sada, krajem prolog stoljea i tisuljea pojavila se grupacija novih geometriara (neo-geo), kao dalekog asocijativnog odjeka na tendencije konkretne umjetnosti iz prve polovice 20. stoljea. Zagrebaka dizajnerica i slikarica Sonja Marjanovi izravan je sljedbenik postulata konkretne umjetnosti, ak bi se moglo rei da je jedina hrvatska slikarica mlae generacije koja slika apstraktno slikarstvo na tragu konkretne umjetnosti. Nakon nekoliko dosadanjih uspjenih izloaba, daljnjim je neumornim slikanjem u posljednje vrijeme stvorila ciklus koji je nazvala Kvadratura kruga. Ciklus Kvadratura kruga - dio kojega sada izlae u prostorima Privredne banke Zagreb nastavlja se na njezina preispitivanja vlastitih doivljaja boja i svjetlosti. U ranijim stvaralakim godinama Sonja Marjanovi slikala je koloristiki sugestivne krajolike. No, to nisu bili realistiki krajolici, prepisani iz promatranoga u prirodi na platno. Slikala je svoje doivljaje prirode. Uspostavila je lirsko - poetian diskurs slikanja krajolika, koji je uostalom, bio krajolikom bez topografije, ili bolje, krajolikom njezinih unutarnjih stanja i shvaanja prirode. Ve su tada ovi krajolici bili na granici figuracije i apstrakcije, slikani iznimno otvorenom i toplom koloristikom skalom. Doimali su se poput nadrealnih vizija. Smisao i osjeaj za boje, slikanje sa znatnim emotivnim uplivom i unoenje senzualnosti, ostao je prisutan i u posve plonim slikama koje radi i danas. Tek je racionalizirala potez, jer novo joj slikarstvo zahtjeva punu izvoaku koncentraciju i strpljenje, s voljom da stabilizira jednu novu vrst higijene vizije i novu tipologiju slike. Sonja Marjanovi u svojemu slikarstvu postavlja svoj temeljni strukturirajui element: traku, liniju i/ili prugu, i kombinira je sa simetrinim geometrijskim likovima,

kvadratom, pravokutnikom i krugom, katkada i trokutom. Vizualna struktura joj je jako vana. U vodoravnoj, okomitoj ili dijagonalnoj traci te u geometrijskim likovima, Sonja istodobno cijeni strukturalnu strogost i potencijalno joj bogatstvo. Ovi cjeloviti jednostavni oblici takoer predstavljaju fragmente kada se upotrijebe u seriji; ponavljanje motiva ujedinjuje oslikanu povrinu, a istodobno stvara isprekidanost pravilne kvadratne kompozicijske cjeline. Kada bismo kvalificirali ovo slikarstvo, rekli bismo da elementarnom podjelom formata postaje blisko minimalizmu, ali s obzirom na koloristika ulanavanja pripada osobnom i osebujnom tipu geometrijske apstrakcije, na tragu konkretne umjetnosti. Dakle, u znaajnome pojednostavljenju svojega vokabulara, Sonje koristi geometrijsku strukturu, tvorei simetrina polja s pravilnim rubovima. Nastoji da svaki element sauva svoj znaaj i svoju samostalnost, ostajui ipak tijesno povezan s ostalima. Ta se tenja konkretizirala preispitivanjem naela plonosti slike. Plonost je apsolutizirana: slikarica prekriva povrinu all over. Apsolutizirana plonost logino, negira i najmanji trag volumena, a time i najmanji trag sugestije prostora. Ujedno, volumen nestaje izbrisan stalnim ponavljanjem naslikanih geometrijskih elemenata: razliite se strane vide kao jedna velika obojana povrina. Oslikana je povrina ujedno i iskaz perfekcionistike tenje, kako u tehnikome i zanatskom, tako i u optikom smislu. Ako je savreno pravilna podjela formata na simetrine trake ili geometrijske likove jedan od imperativa Sonjine estetike, drugi joj je imperativ - boja. Kao i u mnogih drugih dobrih slikara, i kod Sonje je boja vie mjesto duhovnosti i meditacije nego prazna formalna sastavnica. Vie od bilo kojega drugog elementa, boja daje ljudsku dimenziju ovome slikarstvu; ona je mjera proivljenosti geometrijskog motiva, izraz njegova vitalizma. Boje daju aromu i osjetilno-osjeajnu ugoajnost, koja sjajno korespondira s perceptivnom autoriinom otrinom, uvjerljivo prenesenom na promatrae njezinih djela. Drugim rijeima, boje nanesene na geometrijske plohe, i svojim izborom i svojim djelovanjem, imaju mo transkripcije jednoga osjeaja, nekoga svijetla, sjeanja na kakvu dragu osobu, ili osobito, na doivljaje akumulirane u nutrini bia. uta, oker i smea u nekoliko varijanti esto dominiraju u Sonjinim slikama, jer su reminiscencije na boju pustinjskoga pijeska, na boju Afrike. Uz to, boje kojim premazuje svoje trake, ili svoje kvadrate, pravokutnike, trokute i krugove - koje takoer varira u svojim kompozicijskim strukturama - uvijek su iste u gami, jer nikada ne slika tonskim nijansiranjem. Prevlast toplih boja oznaava toplinu osjeaja. Na taj nain funkcionira i koloristika heraldika: upravo e uta, naranasta, oker i crvena predstavljati boje jakih osjeaja, dok e plava biti ambijentalna asocijacija na dnevno ili veernje nebo. Kao da njezine boje nose u sebi nekakvu nostalginu teinu. ak i kada upotrebljava bijelu, sivu i crnu neboju, Sonja ih senzibilizira u neznatnim varijacijama. Dakle, premda je nasljednica i sljedbenica serijalne estetike, nazone i u konkretnoj umjetnosti, slikarica sve vie odbacuje isti formalizam, i trai naine kako humanizirati geometrijsko apstraktnu umjetnost, udahnjujui joj svojevrsnu uvstvenu kakvou. Za shvaanje ovih slika, vaan je osvrt na ritmiziranje pojedinih povrina. Sonjina likovna djela progovaraju uvijek novim ritmom postavljenih traka, ritmom okomica, vodoravnica i dijagonala, kao da ele svjedoiti o neiscrpnosti umjetnike kreacije unutar zadanoga modela. Ritmike varijacije opstoje u upotrebljenim bojama, u gustoi rasporeda linija, i u debljini i duljini linija.

Privid programiranoga rada, savrenoga geometrijskog spoja od jednostavnih i monotonih multipliciranih jedinica obojanih traka ili geometrijski podijeljenih ploha u jednostavno optiko polje, navodi nas na pomisao o diskretnoj dekorativnoj prirodi Sonjina umjetnikog proizvoda. Da bi svojim plastikim istraivanjima dala snaniji izraz, svodi ih na profinjene kromatske registre. Proces slikanja joj je takav da zatomljuje rukopis do glatke, sjajne fakture, to dodatno naglaava zavreno umjetniko djelo kao samostalnu vizualnu plastiku injenicu. Koristei iskustva avangardnih stilskih formacija koje svoj likovni izriaj i umjetniko djelovanje grade na transformiranju umjetnike zbilje u samosvojne duhovne posljedice, Sonja Marjanovi problematizira odnose optike iluzije u zakletoj shemi dvodimenzionalne, plone konkretnosti. Iz nje je posve eliminiran i najmanji trag predmetne zbilje, ne bi li se uspostavio potpuno apstraktni prcde. Njezino se slikarstvo moe upisati u veliku postmodernistiku obitelj, upravo zato to predstavlja specifini i osobni stilski idiom neo - geo poetike, derivirane iz povijesne avangarde Konkrete Kunsta te se smjeta u sinkretino polje hrvatske, ali i planetarne suvremene umjetnosti. Istodobno geometrijsko i senzualno, njezino je slikarstvo sinteza minimal - arta i geometrijsko apstraktne tradicije sa suvremenim slikarskim istraivanjima. U Zagrebu, travnja mjeseca 2012. Enes Quien

Concrete Art of Sonja Marjanovi

Konkrete kunst (Art Concrete or in Croatian, Konkretna umjetnost) happens to be one of the great themes of the contemporary 20th century art. Theo van Doesburg (1883 - 1931),Dutch avant-garde artist parted ways with his colleague and friend Piet Mondrian. In 1911 the two of them founded De Stijl group and in manifestoes they propagated geometric abstraction which they named neoplasticism. Mondrian insisted on rigid horizontal and vertical lines and on mathematically calculated balances of fields filled with pure, primarily basic colours, within the paintings surface. Van Doesburg was painting diagonally, but still, just like Mondrian, relied on lines, triangles and squares. Mondrian took offense, considered diagonal painting to be a betrayal and ended both his cooperation and friendship with Theo van Doesburg. The latter, having been fed up with Mondrians close-minded attitude towards art and especially towards abstraction, in 1924 coined a phrase Konkrete Kunst, which developed and expanded in the 1920s as a sort of opposition to abstract art. In terms of form, painting and visual experience, Concrete Art is abstract art. A comparison of both abstract forms incites revolutionary and radical demands for new art, for avantgarde tendencies. Concrete Art has originated from the very abstract and pictorial art and represents a derived geometric abstract art. However, the difference lies within the fact that the past abstraction at that time was art of a certain object in its own way, consequently reflected in the material world, whereas the prevailing geometrical abstraction used in Concrete Art completely severs ties and loses any touch with the material world, given that it is founded on fully object-free artistic postulates. Its purpose is to focus on angles, lines and clearly defined geometrical colour fields which bear their own reference, which means that they create their own artistic reality, inherent and relevant to painting. In addition, according to the great philosopher of the classic German idealism, Georg Wilhelm Friedrich Hegel, who voiced a suspicion of the possibility of development of art and in 1952 declared art dead, yet naturally classified art into the zone of absolute spirit - a spiritual act while a work of art is being created, gives a visual expression in a clearly structured work. Concrete Art precisely insists on Hegelian concept that artistic creation happens to be a spiritual process. In a single edition of the magazine Art Concrete issued in Paris in 1930, van Doesburg published a manifesto of Concrete Art where he stated that the pictorial element bore no relevant external meaning and by extension, that painting had no purpose other than itself. Furthermore, Concrete Art should be characterised by the concept that art relies on the laws of logic and that it is based on rational principles. In 1930 in Paris Theo van Doesburg established the Art Concrete Group to which Marcel Wantz, Leon Tutundjian and Jean Hlion joined. A year later, in 1931 and in Paris once again, van Doesburg together with Jean Hlion, Georges Vantongerloo and Auguste Herbin founded agroup called Apstraction-Cration and a magazine under the same name and subtitled: Lart non-figuratif, which for the duration of its life, i.e. from 1932 and 1936, had a profound impact on dissemination of the idea of abstraction on the international level, but actually as an opposed and a different opinion compared to the then prevailing domination of surrealism in Paris. The group Apstraction-Cration grew: Piet Mondrian (he and van Doesburg had made up by

then, mostly united in their opposition to surrealism), Vasilij Kandinsky, Albert Gleizes, the Dutch Bart van der Leck and Theo Kerg, the Swiss Hans Erni, the English Marlow Moss, John Wardell Power (who brought abstraction with him to Australia when he moved), Paule Vezelay, Ben Nicholson and his wife sculptor Barbara Hepworth, German dadaist Kurt Schwitters, Hans (Jean) Arp from Alsaceand Taro Okamoto from Japan all joined in. The main representatives of the Concrete Art movement in the 1930s were the groups Art Concrete and Apstraction-Cration. Pioneer impulses of Concrete Art exerted special influence in Switzerland, where they are reflected in the works of the groups such as Zrich Concretists and Allianz Group. The most important representatives of the Concrete Art movement in Switzerland were Max Bill, Camille Graeser and Richard Paul Lohse. Abstract art also found favourable climate in Italy where two groups were established: Million (Giuseppe Ghiringhelli, Mauro Reggiani and Oreste Bogliardi) and group Comasco (Atanasio Soldati, Bruno Munari, Carla Badiali, Luigi Veronesi, Manlio Rho and Mario Radice). After the World War II, the artists of the Concrete Art movement left a lasting impression on an entire generation of painters of the New York School, in particular on the ones guided by Hard Edge painting (Elsworth Kelly and Kenneth Noland) and Colour Field painting (Mark Rothko, Ad Reinhardt, Adolph Gottlieb, Frank Stella, Barnett Newmann, Al Held, Alfred Jansen and Theodoros Stamos). Croatian contemporary art did not have a direct member in any of the Concrete Art groups, or any abstract painters on the international scene. It was only later, when the Word War II had already ended that many abstract painters appeared also in Croatia. At the end of the last century and millennium a group of new geometric artists (neo-geo) emerged in a remote response to the tendencies of the Concrete Art in the first half of the 20th century. Sonja Marjanovi, designer and painter from Zagreb, happens to be a direct follower of the Concrete Art postulate; one could even say she is the only Croatian younger generation painter whose works show abstract art with elements of Concrete Art. She had a couple of successful exhibitions so far, yet she remains relentless in her painting and has only recently created a cycle titled Kvadratura kruga (Square Rectangularity). The cycle Kvadratura kruga - parts of which are presently exhibited on the premises of Privredna banka Zagreb - builds onto her queries of own experiences of colours and light. In her early works, Sonja Marjanovi was painting landscapes in suggestive colours. However, these were not realistic landscapes, copied from the nature onto to the canvas. What she painted was how she experienced nature. She established a lyricalpoetic discourse of landscape art, which was actually a landscape without topographical features, or better said, a landscape of her own inner states and understanding of nature. Already then these landscapes were on the verge between figurative and abstract, painted in an exceptionally open and warm colour scale. They seemed positively surreal. Her colour sense and instinct, her works that introduced so many of her emotions and sensuality, may even be seen in fully flat works that she even paints nowadays. Her brush strokes have only been made rational, as this new way of

painting requires both full concentration in performance and patience, with a will to stabilize a new kind of hygiene of vision and new painting typology. The basic structural elements in her works are: band, line and/or track, which she combines with symmetrical geometrical forms, square, rectangle, and sometimes even triangle. Visual structure is very important to her. Sonja values both the austerity of structure and the abundance that lies beyond in a horizontal, vertical or diagonal bands and geometric forms. These complete simple forms also represent fragments, once added in a sequence; repeating a motif brings the painted surface into unison, while simultaneously breaking the perfect whole of a regular square composition. If we were to categorize this kind of painting, we would say that it is close to minimalism with its elementary division of forms; however, given the colour sequences, we would say that it belongs to a personal and rather particular type of geometric abstraction with traces of concrete art. Therefore, in what is a significant simplification of her vocabulary, Sonja uses the geometric structure by creating symmetrical fields with regular edges. She tries for each element to maintain its features and independence, while remaining closely linked to others. This ambition of hers has manifested in bringing the principles of painting flatness into question. The flatness is made absolute: the painter covers the surface all over. In a logical string of thought, the absolute flatness denies the least trace of volume and in the process also the least trace of a suggestion of elements. At the same time, the volume disappears through constant repetition of painted geometrical forms: different sides come together as a large painted surface. A painted surface also comes as an expression of aspirations for perfection, in terms of technique and craft but also from the optical point of view. If one of the imperatives of the aesthetics of Sonja happens to be a perfect division of forms into symmetrical bands or geometrical forms, another would be - the colour. As seen often with many other fine painters, Sonja uses colour more for the sake of spirituality rather than merely using it as a technical element. More than any other element, colour gives this kind of painting a human dimension; it stands for the measure of an experienced geometrical motif, an expression of its zest. Colours are what give an aroma and palpablysentimental gratification which beautifully corresponds with the obvious clarity of the author, which is transferred to the admirers of her works. To put it differently, the colours laid on geometrical surfaces, how they were chosen and with their effect, are able to transcribe a feeling, a light, a memory of a loved one, or in particular, experiences accumulated within ones self. Several shades of yellow, ochre and brown often dominate Sonjas paintings, given that they are reminiscent of the colour of desert sand, of Africa. In addition, the colours applied to all of her bands or squares, rectangles, triangles or circles - are clear; she never paints in shades. The prevailing warm colours translate into warmth of feelings. This is how colour heraldic also works: yellow, orange, ochre and red stand for strong emotions, whereas blue will be a more ambience association of day or night sky. It is as if her colours carry within a sort of a nostalgic heaviness. Even when she uses white, grey and black, which are non-colours, Sonja gives them an emotional touch with negligible variations. Therefore, although she is the descendent and follower of serial aesthetics, seen also in the concrete art,

the painter has been ever so more discarding pure formalism and searching for ways to humanize geometric-abstract art, breathing into it a kind of sentimental quality. In order to understand these paintings, we have to see the rhythm of individual surfaces. Sonjas works of art always change rhythmically in how the bands, vertical lines, horizontal and diagonal lines are placed, as if they wish to testify to the inexhaustible artistic creation within a set model. Rhythmic variations are brought to life in the colours she uses, the density of the lines as well as in the thickness and length of the lines. A sense of programmed work, perfect geometrical bond of simple and monotonous multiplied units of painted bands or geometrically divided areas into a simple optical field, gets us thinking about the discrete decorative nature of Sonjas artistic product. In order to give a stronger statement to her plastic research, she diminishes them to sophisticated chromatic registers. The painting process is such that it silences the handwriting up to a smooth, shiny facture, which additionally accentuates a finished work of art as an independent visual plastic fact. Relying on the experiences of avant-garde style formations that build their artistic expression and effect on the transformation of artistic reality into personal spiritual effects, Sonja Marjanovi confronts the optical illusion relationship in what is a sworn two-dimensional flat concrete work of art. Such concreteness fully eliminates the least trace of reality in order to provide a fully abstract prcde. Her works of art may be included into the large post-modern family, precisely because they represent a specific and personal stylistic idiom of neo-geo poetics, which derives from the historical avant-garde of Konkrete Kunst and happens to belong to Croatia, but also into the planetary contemporary art. While at the same time geometric and sensual, her paintings come into a synthesis of the minimal art and geometric-abstract tradition with contemporary painting explorations. In Zagreb, April 2012 Enes Quien

ruiasta zona, 2007, ulje na platnu, 72x72x7cm pink zone, 2007, oil on canvas, 72x72x7cm

ledeni sjaj, 2007, ulje na platnu, 100x100x7cm icy shine, 2007, ulje na platnu, 100x100x7cm

veliki plavi val, 2007, ulje na platnu, 72x72x7cm great blue wave, 2007, oil on canvas, 72x72x7cm

veliki ruiasti val, 2007, ulje na platnu, 72x72x7cm great pink wave, 2007, oil on canvas, 72x72x7cm

funky valovi 3, 2007, ulje na platnu, 100x100x3cm funky vawes 3, 2007, oil on canvas, 100x100x3cm

funky valovi 5, 2007, ulje na platnu, 100x100x3cm funky vawes 5, 2007, oil on canvas, 100x100x3cm

funky valovi 1, 2007, ulje na platnu, 100x120x3cm funky vawes 1, 2007, oil on canvas, 100x120x3cm

defile, 2007, ulje na platnu, 100x120x3cm dfil, 2007, oil on canvas, 100x120x3cm

na raskru, 2012, ulje na platnu, 100x100x3cm on the crossroad, 2012, oil on canvas, 100x100x3cm

bez eera, 2012, ulje na platnu 100x100x3cm sugar free, 2012, oil on canvas, 100x100x3cm

tropska vruina, 2012, ulje na platnu, 100x120x3cm tropical heat, 2012, oil on canvas, 100x120x3cm

do jutra, 2012, ulje na platnu, 100x120x3cm until the morning, 2012, oil on canvas, 100x120x3cm

na zlatnoj plai, 2012, ulje na platnu, 100x120x3cm on the golden beach, 2012, oil on canvas, 100x120x3cm

parobrod niz rijeku, 2012, ulje na platnu, 100x120x3cm steamboat down the river, 2012, oil on canvas, 100x120x3cm

rijeni kamen, 2012, ulje na platnu, 100x100x3cm river stone, 2012, oil on canvas, 100x100x3cm

staklena kua, 2012, ulje na platnu, 100x100x3cm glass house, 2012, oil on canvas, 100x100x3cm

dugo ljeto, 2012, ulje na platnu, 90x116x3cm long summer, 2012, oil on canvas, 90x116x3cm

udesno jezero, 2012, ulje na platnu, 100x100x3cm wonder lake, 2012, oil on canvas, 100x100x3cm

Sonja Marjanovi Roena je 23. srpnja 1970. u Zagrebu. Nakon zavrene kole za primjenjenu umjetnost i dizajn u Zagrebu, 1989. godine upisala je Studij dizajna na Arhitektonskom fakultetu Sveuilita u Zagrebu. 1997. godine upisala je poslijediplomski studij Upravljanja poslovnim marketingom na Ekonomskom fakultetu Sveuilita u Zagrebu te uspjeno magistrirala 1999. godine. Izradom i dizajniranjem skulptura i satova od keramike te slikanjem bavi se ve vie od petnaest godina.

Was born 23 July 1970 in Zagreb, Croatia. She finished Art Design School iz Zagreb. In 1989 she enrolled in the Study of Design course at the Faculty of Architecture at the University of Zagreb and successfully completed it in 1994. In 1999 she finished the Post Diploma Study in Business Marketing at the University of Zagreb, Faculty of Economics. For the past ten years she has been creating and designing sculptures in ceramics and painting oil on canvas.

Sonja Marjanovi, F. Fuisa 6, 10000 Zagreb; www.sonja-mar.com; sonja_marjanovic@yahoo.com