| Rado Dagarin ki je svoje slikarsko izobraževanje zakljucil 1984. leta z diplomo pri prof. Ivu Mršniku na Oddelku za likovno pedagogiko Pedagoške fakultete, se je v svojem slikarskem opusu opredelil za podobe iz narave. Naj gre tu za krajino, podobe posameznih živali ali rastlin, ali pa zgolj za izsek iz naravnega okolja, vedno je njegov osebni slog že na dalec razpoznaven. Sliko podpira trdna risba, sestavljena iz geometrijskih ploskev, ki ne igra le vloge okostja slike, ampak vcasih celo dominira. Kolorit je, podobno kot risba, izrazito mocan, slike so pisane in vcasih celo fluorescentno kricijo svojo izpoved, ki je nastala globoko v umetnikovi duši. Dagarinove podobe rastlin in živali so vcasih izrisane realisticno, vcasih pa so abstrahirane, a le do take mere, da o popolni abstrakciji nikakor ne moremo govoriti, saj je slikar v svojih delih tudi nikdar ni želel. So odraz trenutnega slikarjevega razpoloženja in delujejo vcasih milo, idilicno in skoraj deviško, spet drugic pa se kažejo kot pošasti, ki razgrajajo po slika rski površini in grozijo, da bodo vsak trenutek skocile med nas in zavladale v prostoru in nad nami ter zaplesale neke vrste mrtvaški ples. Uporabnost dagarinovih slik je raznovrstna. Za slike, ki so namenjene zgolj dekoraciji, uporablja kot podlogo najveckrat klasicne materiale, platno ali papir, nanjo pa nanaša barvilo bodisi s svincniki ali pa z akrilnimi barvami. Te slike so tudi osebno najbolj izpovedne, saj slikarja pri ustvarjanju ni ovirala misel na utilitarno dimenzijo dela. Svoje podobe je postavil v zmešnjavo ploskev in jih oživil zgolj z barvno razlicnostjo, podobno kot otroci to radi pocno pri igri "Kaj se bo prikazalo?". Posebno poglavje v Dagarinovem slikarstvu pomenijo slike, namenjene dekoraciji arhitekture ali pa slike, ki so same po sebi del pohištva. Pri prvih gre za podobe na stropnih plošcah. Tu se je Rado Dagarin zavedal, da ga strop kot medij poslikave zavezuje tradiciji, stari vec kot pol tisocletja. Stropne plošce nosijo le posamezno, že z risbo tocno opredeljeno figuro, ki lebdi. Slikarskega prostora slikar tu ni ustvaril, tako da plošce lahko služijo kot kamencki za poljubno izbrano kombinacijo v mozaiku podob rastlin n živali. Dagarinove španske stene kot paravani, ki zakrivajo dejansko dogajanje, dajejo s svojo formo in poslikavo slutiti dogajanje zadaj. Slikarska ploskev ni klasicen pravokotnik, ampak je že sama po sebi lik, kot taka pa le delno zakriva dogajanje. Ti liki spominjajo na kiparske izdelke primitivov, tako Indijancev severne Amerike kot Afriških plemen. Predstavljamo si lahko, da taka stena v svoji funkciji deluje zelo provokativno, saj sama stena na humoren in hudomušen nacin razkriva drugi obraz dogajanja zadaj, tisti obraz, ki bi brez španske stene kot bariere ostal neviden, saj tudi ni realen ampak je le plod umetnikovega predvidevanja in interpretacije dogodka zadaj. Dušan Koman Slikar Rado Dagarin, rojen 1. decembra 1960 v Ljubljani. Študij je koncal 1984. leta na oddelku za likovno pedagogiko Pedagoške akademije pri prof. Ivu Mršniku. Clan DSLU je od leta 1996. Rado Dagarin In his artistic opus Rado Dagarin, who in 1984 concluded his artistic education at the Pedagogical Academy, Department of Fine Arts, with a degree at professor Ivo Mršnik, has chosen images from nature as his subject. Should this refer to landscape, images of individual animals or plants, or just a section of the natural environment - his personal style is always recognisable from far. The painting is based on a firm drawing, consisting of geometrical surfaces, which not only acts as a skeleton of the picture, but sometimes even dominates. The colouring is, similarly to the drawing, distinctively strong, pictures are colourful and sometimes even fluorescently reduce their stories created deeply in the soul of the artist. Dagarin's images of plants and animals are sometimes presented realistically, and sometimes they are abstract, but only to the extent that it is impossible to talk about complete abstraction, as the painter has actually never desired it in his artistic work. They are a reflection of the disp osition of the painter at the moment of painting and sometimes have a mild, idyllic and almost virginal effect, whereas on some other occasions they are shown as monsters making an uproar and threatening to jump out any time, rule the space and us and dance with us a kind of macabre dance. The aim of Dagarin's paintings varies. For the paintings of merely decorative function he mostly uses classical materials, canvas or paper, as the foundation, to which he then paints with either pencils or acrylic paints. These paintings are the most personally expressive, as in the process of their creation the artist was not limited by the thought of the utilitarian dimension of his work. He placed his images in a disorder of planes and made them alive by mere colour diversity, similarly as children do while playing the game "What will show up?". Paintings for decoration of the architecture and paintings which are themselves part of the furniture represent a special chapter in Dagarin's painting. The former refer to images on panels forming the ceiling. Rado Dagarin was aware that with ceiling as a medium of painting he is bound to follow the tradition, dating back for more than half a millennium. Each ceiling panel only contains one individual figure, precisely defined by a drawing and floating. Here the painter has not created the painting space, so that the panels can serve as stones for any combination in the mosaic of images of plants and animals. In the function of screens hiding the actual events Dagarin's folding-screens, with their form and decoration, enable us to sense the activity behind them. The painting plane is not a classical rectangle, but forms a shape by itself, which as such only partly covers the action behind. These shapes remind us of sculptural works of art of primitive people, such as the Indians from Northern America as well as the African tribes. It is easy to imagine that in its function such a screen can have a provocative effect, as the screen itself reveals, in a humorous and roguish way, the second face of the happening behind, the face which would remain invisible without the folding-screen as a barrier. Actually, it is not real, but only the fruit of the artist's anticipation and interpretation of the event behind. Dušan Koman The painter Rado Dagarin was born on December 1, 1960, in Ljubljana. In 1984 he concluded his studies by professor Ivo Mršnik at the Pedagogic Academy, Department of Fine Arts. Since 1996 he has been a member of the Slovenian Association of Fine Artists. SKUPINSKE RAZSTAVE / GROUP EXHIBITIONS 1985 Škofja loka, NAMA 1985 Kranj, PREŠERNOVA GALERIJA 1986 Škofja loka, GALERIJA 1987 Škofja loka, GALERIJA PLEVNA 1987 Tržic, GALERIJA 1988 Rogaška Slatina, GALERIJA ROGAŠKA SLATINA 1988 Ljubljana, KNJIŽNICA IVANA CANKARJA 1989 Amsterdam, GRONUNGEN 1990 Škofja Loka, KNJIŽNICA IVANA TAVCARJA 1990 Piran, GALERIJA PIRAN 1991 Škofja Loka, GALERIJA PLEVNA 1991 Freising, GALERIJA FREISING 1994 Špeter, Italija, BENEŠKA GALERIJA 1995 Špeter, Italija, BENEŠKA GALERIJA 1996 Škofja Loka, GALERIJA IVANA GROHARJA 1997 Škofja Loka, GALERIJA LOŠKI GRAD 1997 Piran, OBALNE GALERIJE PIRAN 1997 Izola, GALERIJA INSULA 1998 Škofja Loka, GALERIJA IVANA GROHARJA 1998 Piran, OBALNE GALERIJE PIRAN 1998 Izola, GALERIJA INSULA 1998 Mlaka, KOLONIJA IVETA ŠUBICA 1999 Škofja Loka, GALERIJA IVANA GROHARJA 1999 Piran, OBALNE GALERIJE PIRAN 1999 Mlaka, KOLONIJA IVETA ŠUBICA 2000 kofja Loka, OSNOVNA ŠOLA PETER KAVCIC SAMOSTOJNE RAZSTAVE / ONE-MAN EXHIBITIONS 1987 Škofja Loka, OŠ CVETKO GOLAR 1991 Škofja Loka, SKUPŠCINA OBCINE ŠKOFJA LOKA 1993 Škofja Loka, ŽIGONOVA HIŠA 1994 Škofja Loka, GALERIJA FARA 1996 Kranj, GALERIJA PUNGERT 1996 Škofja Loka, SKUPŠCINA OBCINE ŠKOFJA LOKA 1997 Škofja Loka, SKB BANKA 1997 Škofja Loka, UPRAVNA ENOTA 1998 Škofja Loka, GALERIJA IVANA GROHARJA 1999 Šmartno, TURN ŠMARTNO 2000 Škofja Loka, GALERIJA LOŠKEGA MUZEJA |