MARJAN ĐARMATI

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Marjan Đarmati rođen je 1971. godine u Zrenjaninu. Završio je osnovnu školu u Žitištu. Srednju školu je napustio i zaposlio se kao moler u fabrici mesnih prerađevina. U detinjstvu se bavio crtanjem, a zatim sve više počinje da ga zanima muzika.

Sa svojim bendom Dve Bajage bio je aktivni učesnik HC punk scene devedesetih. Kasnije, preko tog benda povezuje se sa akterima umetničke scene, danas uglavnom okupljenim oko kolektiva Matrijaršija. Mnogo godina borio se sa alkoholizmom i neuspešno se lečio. 2017. godine u pijanom stanju doživeo je nesreću u kojoj su mu, usled promrzlina, teško i trajno oštećeni nervi na prstima. Ubrzo po izlasku iz bolnce počinje ponovo da crta, na sasvim nov način.

Važan uticaj u tome na njega je ostavilo stvaralaštvo Gorana Stojčetovića. Stojčetovićevo crtanje hemijskom olovkom pružilo je Đarmatiju potrebnu tehničku jednostavnost. Njegovi crteži često i eksplicitno, ali sa velikim mirom, govore o užasima s kojima se rvao. Svoje demone dobro razume, oni su gotovo prijatelji. Taj mir Đarmatiju daje prostor za virtuoznost, ali i mudrost da na toj virtuoznosti ne insistira. U strahu za ruke, tri stvari imaju ključnu simboličku funkciju – prsti, odsecanje i čudovišni likovi nastali iz haosa. Ali ono što najviše povezuje njegove radove je intimnost. Ni prizore vojvođanske ravnice, koji oživljavaju u nadrealističkim transformacijama, ni likove iz pop kulture u borbi sa snoviđenjima, ni uskomešane zveri iz drugih dimenzija nikada ne pokreće agresivnost. Oni, prosto, igraju svoju ulogu. Marjan to prihvata, kao što prihvata i gledaoca, kome ne predlaže baš ništa.

Član udruženja Art Brut Serbia od 2017.

Kontakt:

https://www.instagram.com/marjan.djarmati/

https://www.facebook.com/marjan.djarmati?locale=be_BY

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Marjan Đarmati was born in 1971 in Zrenjanin. He finished elementary school in Žitište. He left high school and got a job as a wall painter in a meat processing factory. In his childhood, he was engaged in drawing, and then he became more and more interested in music.

With his band Dve Bajage, he was an active participant in the HC punk scene in the nineties. Later, through that band, he connected with the actors of the art scene, today mostly gathered around the Matrijaršija collective. He struggled with alcoholism for many years and was unsuccessfully treated. In 2017, while drunk, he had an accident in which, due to frostbite, the nerves in his fingers were severely and permanently damaged. Soon after leaving the hospital, he starts drawing again, in a completely new way.

The work of Goran Stojčetović left an important influence on him. Stojčetović's ballpoint pen drawing provided Đarmati the necessary technical simplicity. His drawings often and explicitly, but with great calmness, speak of the horrors he wrestled with. He understands his demons well, they are almost friends. That peace gives Đarmati room for virtuosity, but also the wisdom not to insist on that virtuosity. In Fear for Hands, three things have a key symbolic function – fingers, cutting off, and monstrous figures born of chaos. But what most connects his works is intimacy. Neither the scenes of the plains of Vojvodina, which come to life in surrealistic transformations, nor the characters from pop culture in the struggle with dreams, nor the stirred-up beasts from other dimensions are ever triggered by aggressiveness. They simply play their role. Marjan accepts it, just as he accepts the viewer, to whom he does not suggest anything at all.

Member of the Art Brut Serbia Association since 2017. Exhibited at all group exhibitions of the Association.

Contact:

https://www.instagram.com/marjan.djarmati/

https://www.facebook.com/marjan.djarmati?locale=be_BY

Biljni pigmenti (primeri i zapažanja)- Marjan Đarmati

Proleće 2019., otišao sam na obližnje jezero sa namerom da crtam, dan je bio topao i sunčan, opazio sam kako je sve ozelenelo i bujalo životom. Prisetih se detinjstva i isflekane odeće i obuće billjem, poželeo sam da vidim kakav trag ostavlja na papiru. Biljka, koja je imala listove nalik na zelenu ili šargarepi (kukuta), mi je skrenula pažnju pošto je bila visa od ostalih. Ubrao sam nekoliko listova i povukao par linija, svideo mi se tragi boja, podstaknut time nastavio sam da šaram i bojim. Nisam se zaustavio dok nisam obojio čitav list, veoma mi se dopalo to što vidim, a sve je bilo propraćeno nekim neobjašnjivim ushićenjem i zadovoljstvom.

Posmatrao sam dugo taj zeleni list, primetio sam da nije ujednačeno obojen, nazirali su se neki nedefinisani oblici i izgledali su mi zanimljivo. Sledećih dana sam neprestano boji papire, sve duže i u više slojev, boja je postala intenzivnija, a teksture su poprimile utisak dubine, prostora… i naravno uvek je bio tu onaj osećaj zadovoljstva.

Naredne tri godine sam koristio biljke na različite načine: utrljavajući ih, mleo i blendirao i dobijenu kašu nanosio na papir sa raznim predmetima, slikao sa isceđenim pigmentima. Pigmenti sadrže veoma sitne čestice, kada se osuše formiraju veoma tvrdo i kruto jedinjenje osetljivo na vodu i svetlost, mogu se kombinovati. Što omogućava mešanje boja i dobijanje fantastičnih nijansi. Neke od biljaka pokazuju osetljivost na svetlost, temperature, vremenski razmak između nanetih slojeva, razlike u nijansi tokom rad ana suncu ili u hladovini.

Na narednim listovima su prikazani primeri nijansi određenih biljaka, nanetih linijskim nanošenjem (gore-desno), dijagonalno se spuštaju do višeslojnih nanosa sa pojavom teksture (dole-levo), kao i potencijalna bitna zapažanja. Kao i sve organsko, pigmenti su skloni transformaciji: propadanje, truljenje, promena boje itd., zato ću primere sačuvati u digitalnom format, takvim kakvim su trenutno, da bih mogao u nekom budućem period napraviti poređenje i izneti zapažanja.

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Plant pigments (examples and observations) text by Marjan Đarmati

In the spring of 2019, I went to a nearby lake with the intention of drawing. The day was warm and sunny, I noticed how everything was green and full of life. I remembered my childhood and the clothes and shoes stained with herbs, I wanted to see what mark it leaves on paper. The plant, which had green or carrot-like leaves (hemlock), caught my attention because it was taller than the others. I picked a few leaves and drew a few lines, I liked the trace of colour, encouraged by that I continued to draw and paint. I didn't stop until I had coloured the whole sheet, I really liked what I saw, and everything was accompanied by some inexplicable delight and satisfaction.

I observed that green leaf for a long time, I noticed that it was not uniformly coloured, some undefined shapes could be seen, and they looked interesting to me. In the following days, I continuously coloured the papers, longer and in more layers, the colour became more intense, and the textures took on the impression of depth, space... and of course there was always that feeling of satisfaction.

For the next three years, I used plants in different ways: rubbing them, grinding, and blending them and applying the resulting pulp to paper with various objects, painting with squeezed pigments. Pigments contain very small particles, when they dry, they form a very hard and rigid compound sensitive to water and light, they can be combined. Which makes it possible to mix colours and get fantastic shades. Some of the plants show sensitivity to light, temperatures, time interval between applied layers, differences in shade during work in the sun or in the shade.

The following sheets show examples of shades of certain plants, applied by line application (top-right), diagonally descending to multi-layered applications with the appearance of texture (bottom-left), as well as potential important observations. Like everything organic, pigments are prone to transformation: deterioration, rotting, color change, etc., so I will save the examples in digital format, as they are currently, so that I can make a comparison and make observations in some future period.