Slikanje svjetlom u fotografiji uporaba je luminiscentnog izvora tj crtanja ili osvjetljavanja tamne scene, pri čemu fotografija postaje (slikarsko) platno, svjetlost postaje libreto, a Olga Karlovac skladatelj iznimnih minijatura u kojima se otvara nepregledan svemir pitanja, portreta, (u)lica bez imena, prostora tišine tj. buke bez zvuka. Olga oslikava svijet pokreta, prizivajući atmosfere kronofotografije Etienne-Jules Mareya, dugoeksponirane kondenzate pokreta Frank Gilbretha i Eliota Elisofona te fantastične prekrasno-jezive fotografske vizije Franka Machalowskija, opet ostajući itekako svoja u lirskome i fotografskome potpisu. Možda najviše u portretima i autoportretima Olgino pero slika razbijajući formu te udišući toliko sadržaja u fotografiju, da ona postaje boja tamo gdje je nema, zvuk tamo gdje je linija najtiša, pokret ( i pokret, i pokret i pokret) tamo gdje u kadru stoji, a gdje se kadar kani razliti u dugoj ekspoziciji.
Zaista, mnogi će čitajući kadar Olge Karlovac pomisliti da je riječ o stiliziranoj pogrešci, no njeno je tehniciranje vrsnost sinestetičke fotografsko-slikarske igre u kojoj objekt pripada kontekstu, kontekst teksturi, tekstura zrnu, zrno svjetlu. Njena je ekspozicija ples ulice i stanja misli usputnoga i svijeta koji korača mimo nas. Njena je ekspozicija kozmogonska priča o točci, liniji i valu, svojevrsna crnobjelna kinetika koja u ekspresivnome kolažiranju govori o biti fotografije:
igri (od) svjetla (phōtós) te zabilježbi/crtanju/slikanju trenutka u prvome licu (gráphō,).
Ciklus Buđenje intiman je uvid u tek mali dio crnobijelog spektra emocija umjetnice.
Autor: Sanjin Kaštelan
While sorting through the almost invasive content of Instagram, which is far from art and mastery, but imposes itself with glittery, pompous and often cheap aesthetics, under my scrolling finger and rather surprised eye, a black and white photo emerged, more precisely a note of a world – a moment diffused into forms, a moment so dense with emotion, smell and sensation on the skin, synthesis in a miniature of pedestrians walking down the street under their umbrellas on a rainy day. Stopped by the magic of this light, I pressed "follow" and what I discovered gave me goosebumps, followed by an utterance – now, that’s a photo!
By using light in her photography, the artist illuminates a dark scene, where the photograph becomes a (painting) canvas, light becomes a libretto, and Olga Karlovac is the composer of exceptional miniatures composed of vast universe of questions, portraits, streets and faces that have no names, and silence filled space, i.e. noise without sound. Olga depicts a world of movement, evoking the atmospheres of Etienne-Jules Marey's chronophotography, the long-exposure condensates of movement by Frank Gilbreth and Eliot Elisofon, and the fantastic, creepily beautiful photographic visions of Frank Machalowski, while she still remains very much her own self with her lyrical and photographic signature. Perhaps mostly in her portraits and self-portraits, Olga breaks the form and breathes so much content into the photo that it creates color where there is none, sound where the line is the quietest, movement (and more, and more and more of it) where she stands in the frame, and where the frame tends to spill into a long exposure.
While reading Olga Karlovac's frame many will certainly think that it is a stylized mistake, but her technique is the excellence of a synesthetic photographic-painting play in which the object belongs to the context, the context to the texture, the texture to the grain, the grain to the light. Her exposition is the dance of the street, the everyday mind and the world that passes us by. Her exposition is a cosmogonic story about a dot, a line and a wave, a kind of black and white kinetics that tells about the essence of photography through her expressive collaging:
the play (of) lights (phōtós) and the recording/drawing/painting of the moment in the first person (gráphō).
The Awakening is the exhibition of Olga Karlovac’s selected works which gives us a brief yet intimate insight into her black and white spectrum of emotions.
Author: Sanjin Kaštelan
Translation: Dunja Bebek