towards the over-all globalization and universally-shared ideas
as the model of the world we should conform to, the local and
the personal becomes the last resort of a lonely individual.
Within the global parameters of the universal world, personalities
which are protected by the membrane of its microcosm and immersed
in the native landscape as if it were a spiritual well, are
still reflected in the original landscape of preserved changes.
Born and living in the centre of the island Pag,
a few kilometers away from the sea, in the village called Kolan
which nurtured and preserved certain particularities, Frane
Gligora retained within himself the picture of walled-in
patches of land, heaps of stone, places for hay-stacks, narrow
lanes, stone-made shelters for sheep and of those improvised
gates. As his artistic inspiration, between the impressive rocky
terrain and fertile fields of Kolan transformed into vineyard
oasis and rich pastures, he chose the meander of dry
stone walls and the centennial power of the olive
trees of Lun.
Fascinated by the network-like structure of dry stone walls
and by rich ornaments of cracked bark on bent trees, in them
he spells out the primeval power and the tough persistence of
the human effort which follows the inner, invisible ground-plan
of the underground cracks and furrows. Everything that has been
created by erosion, burrowed by water-worn ravines and perforated
all over by boras, is equally reflected in the depth, in those
secret places which send the power energy to the continuing
existence of the island.
specific quality of Pag, its bare and cramped state walled-in
the dry stone walls, intertwined with narrow passages that
connect those small patches of land, is transformed on Frane
Gfigora's canvases into a characteristic relief-map. Into
land properties which were getting smaller, shorter and narrowed-down
by a series of legacies. The cadastre survey transformed the
rectangutar patches into serpent-like forms, into curves and
circles, ellipses and the partition lines.
The dry stone walls outgrow the rocky ground in verticals
that illustrate aspirations of a confined world. Frane Gligora
uses them to emphasis the structure of the rocky ground, the
shapes of the lace of Pag, the geometrical playfulness in
space. Without idealizing or changing the existing boundaries,
he merely eliminates what is superfluous. A dry stone wall
is thus reduced to a mere sign which he uses to point out
the thing that fascinates him the most.
As building elements he chooses the suitable time of the year;
winter or spring when everything is a mere hint or just a
presentiment. The pastures void of people and sheep became
an astral scenery on his canvases, getting metaphysical dimensions.
The stylized space becomes a solid tore juxtaposed against
the eluding time. Delineating emptiness in sheltered shadows
of subdued light he reveals the magical surface of porosity
and solidity. To the feeling of emptiness he opposes the inner
light and so renews the ideal background for the mysterious
and the elusive.
The reduced scenery reposes within the memory. Unexpected cuts, slants hilltops spring up out of the existing scenery but at the same time they are in perfect harmony with the map of the soul. The agility of the elemental and the spiritual guarantee an ideal construction, purity and restraint within given dimensions.
Even though Frane Gligora on his canvases depicts the original landscape, purifying it from the superfluous greenery leaving every now and then an occasional juniper-tree as an elevation and a milestone. In harmony with the measurable world which is reduced by the nature of premedieval purity, through many variation s of well-known places: Kolan, Sveti Duh, Barbat, Zubovici, Slatina, he fills in the space void of man. The unbound feeling of freedom is divided into the feeling of desolation as a possible deviation from the temporal and deterioration.
Choosing colures characteristic of the poor soil; the darker, brown shades and the color of washed-out lime-stone, a subdued white, he marks his temporal code into his paintings.
The poetry of loneliness melted with the firmness of the landscape creates the atmosphere of the original vitality. Trying to stop the time and emphasizes the persistence of survival Gligora introduces into the landscape a personal, tough note. His Olive Trees thus get mythical dimensions. The energetic power circulates with in them.
Bordered branches, tree trunks and roots of olive trees, he transfigures into "live sculptures" that sometimes remind us of people or animals. Emphasizing the creased bark and knotty protuberances, intertwined old branches and rough trunks he points out their texture and structure. Combining the white and the brown, the rough and the smooth, the dark and the light he creates the essential forms.
Immersed into the congenial landscape of the island of Pag Frane Gligora with sophisticated sensibility gives his paintings a personal touch, a mixture of the factual and the ideal, the existing and the imaginary. In a true artist's manner he depicts the connection between the human and the cosmic.