PETER GRIC: THE WORLDS OF imagination

LA CITTÁ DELL’ANIMA

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Peter Gric was born in 1968 in Brno (Czechoslovak Socialist Republic) and emigrated to

Austria in 1980.

From 1988 to 1993 studied under professor Arik Brauer at the Academy of Fine Arts Vienna.

He married Lenka Ferjancová in 2002 and actually lives and works in Vienna with his family.

 

Peter Gric is best known for his mysterious abandoned futuristic architectural landscapes. He studied under professor Arik Brauer at the Academy of Fine Arts Vienna who was one of the original members of the Vienna School of Fantastic Realism. Peter therefore represents the next generation of artists influenced from this movement.

Peter has been exhibited alongside other notable artists such as H R Giger and is a member of the Labyrinthe group.

He has illustrated numerous book covers, predominantly for sci-fi or fantasy genres. Being of a younger generation of artists he has not shied from digital technology and also worked in 3D modelling. This has been used by him to visualize some of his more complex works before being committed to paint.

2007 saw him commence a stage design for the SamPlay production "Hamlet in Rock". (from “Wikipedia”)

 

ITALIAN VERSION

 

 

 

 

 

 

1) What’s your relation with new technologies?


When I bought my first home computer in the mid-80s, an Atari 800 XL, I
immediately started to play around with computer graphics. The
possibilities were very limited and I had to learn programming to create
the simplest figures on the screen (see attached power_plant.gif as an
example). I was dreaming to be able to create three dimensional worlds
in millions pixels and colors. It took, however, a couple of years and a
new computer, a Commodore Amiga, before I was able to use this
technology for modelling the perspectives for my architectural
compositions like "Town VIII" from 1992
(
http://www.gric.at/gallery/bild052.htm). Thenceforward the computer
became an essential tool for my painting.

 

2) I’m a painter's daughter and also my mother use frequently the pc for her creativity, but in Italy not all artist understand this tool, and think that its penalize the true talent. This opinion is present also in your artistic context?

 

Not really. The most artists I know appreciate this tool, at least the
younger generation. But most of them don't use it very extensively in
combination with classical painting media.

 

 

 

3) Obviously the Italian cultural context are dated also in this area:-) I found in some of your landscape elements, with their eroded rocks, some reminiscences from the desolated landscapes of romantic painter, like Friedrich or Constable. They have some connections?

 

I feel a kind of bliss in rocky landscapes above the timberline. I love
high plateaus, maybe because this kind of landscape has its own horizon
which is far above the level of the 'civilized' world. This calmness and
freedom I feel in the nature, especially in the mountains, is so
contrary to what I feel down in the city. This tension is maybe the
object of some of my paintings. Anyway, I was never really interested in
Friedrich or Constable.

 

 

 

4) Instead your abandoned buildings could be interpreted like symbols of society decay?

 

I don't think that the society is decaying. It's just changing continuously, and all in all I believe that it's changing to the better, even if very slowly. I can't really explain why I have the need to paint those useless buildings (and all the other stuff). There is no statement behind it, no symbols with hidden meanings. The interpretation is free: 'come in and enjoy the unknown'. Perhaps painting is for me just the attempt to remember places I have never been.

 

 

 

5) So "the interpretation is free"... It's for this reason that more I look at your paintings and more I find new hidden elements? Do you search the active participation of the observer to construction of artistic meanings?

 

I don't care about artistic meanings, symbols and hidden messages. I

think if somebody has something to say, he should speak a clear

language instead of confusing the audience with symbols and hidden elements. So I'm not telling any stories with my paintings and I'm not providing any intellectual answers to any intellectual questions. I want to enter and experience new spaces, rooms, forms, worlds and dimensions. I don't want to create words and thoughts, but silence. You can follow me, but don't expect any explanations.

 

 

6) I can notice, in your more recent works, a sort of passage from the

predilection for buildings and landscapes to a greater use and

emphasizing of the humane figure. Why this change?

 

 From time to time I enjoy it to experiment with the human body, in particular with the female. I’m trying to interweave it with artificial, inorganic or mineral structures, and although the figures get often very fragmented and modified, I have the need to perceive the beauty and eroticism of the female body. This combination, however, proves to be often quite problematic. Maybe it’s just a tribute to my testosterone, I don’t know.

 

 
 

7) A tribute to your testosterone? Maybe it's the same for every artist :-)

Talking instead of art and culture in general, do you think that present-day themes and aesthetic can live together in the same art?

 

Why Not?

 

 

8) A last question, after you'll finally free :-)

What’s Visionary Art for you?

 

"Visionary Art" is another category, another drawer, very useful to keep order. But whatever drawer you choose for my images, they are reflections of questions about the existence per se. It's a panopticum of my unsatisfied curiosity. But it's also a joy at creation, a joy at extending my own reality.
 
Peter Gric