Safet Zec
1943 (Rogatica (Yougoslavie, Bosnie))
Living in : Venise
Working in : Venise
Artist's webSite
Artist's gallery
For centuries, painting has had only one rule: the exception. Which is intolerable to fools.
This exception is Zec's only quest. This is highlighted by the disorder that is that of his studio. Although I'm not sure that the word "disorder" is appropriate. It is, in the sestiere of Castello of Venice, a vast hall, deep, high. For years, we had to card wool there, reinflate mattresses there, upholster and retype sofas. A canopy. Windows. A mezzanine. It serves as a reserve. Cluttered tables. These are jars. Bundles of brushes. Watercolor boxes. Books. Torn pages. Tubes more or less crushed, squeezed. Some...etc. Nothing that wasn't necessary. Easels. Paintings along a wall. One in front of the other. Some returned. Paintings that he probably started weeks ago. Months maybe. Fallow appearances. Hypotheses that can only be accepted if their requirement verifies them. Like Titian. Palma il Giovane reported that he “turned his canvases against the wall, and sometimes left them for whole months without looking at them. Then, when he took them up again, he examined them severely, as if they were his greatest enemies, to judge their effect. Zec's approach, which does not renounce any technique – oil on canvas, tempera on paper on canvas, watercolor and tempera and collage on canvas, etc. –, stems from the same requirement.
Living in : Venise
Working in : Venise
Artist's webSite
Artist's gallery
For centuries, painting has had only one rule: the exception. Which is intolerable to fools.
This exception is Zec's only quest. This is highlighted by the disorder that is that of his studio. Although I'm not sure that the word "disorder" is appropriate. It is, in the sestiere of Castello of Venice, a vast hall, deep, high. For years, we had to card wool there, reinflate mattresses there, upholster and retype sofas. A canopy. Windows. A mezzanine. It serves as a reserve. Cluttered tables. These are jars. Bundles of brushes. Watercolor boxes. Books. Torn pages. Tubes more or less crushed, squeezed. Some...etc. Nothing that wasn't necessary. Easels. Paintings along a wall. One in front of the other. Some returned. Paintings that he probably started weeks ago. Months maybe. Fallow appearances. Hypotheses that can only be accepted if their requirement verifies them. Like Titian. Palma il Giovane reported that he “turned his canvases against the wall, and sometimes left them for whole months without looking at them. Then, when he took them up again, he examined them severely, as if they were his greatest enemies, to judge their effect. Zec's approach, which does not renounce any technique – oil on canvas, tempera on paper on canvas, watercolor and tempera and collage on canvas, etc. –, stems from the same requirement.
Artist's exhibitions
De Sarajevo à Venise. Safet Zec
31/05/2017 - 22/07/2017(PARIS) Galerie Schwab Beaubourg
Safet Zec. La peinture et la vie
12/10/2016 - 15/01/2017(Lille) Musée de l'Hospice Comtesse
Judith Wolfe – Grands espaces colorés
06/07/2012 - 23/09/2012(Avallon) Les Abattoirs d'Avallon
Publicité
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