prima facia

source: spinelloprojects

Incorporating complex light projections, otherworldly sculptural forms and a notable reliance on the dynamics of natural landscapes, Sinisa Kukec synthesizes pre-fabricated elements to reflect wholly unusual, wholly original three-dimensional states of flux.

Kukec received his Diploma of Fine Arts from the University of Manitoba, Winnipeg, Canada and his MFA from Alfred University in New York. Solo exhibitions of his work have been held at venues in South Korea, the Netherlands and in Philadelphia, Aspen and Miami. Kukec’s work has been featured as part of the Museum of Contemporary Art’s (North Miami) Optic Nerve XII in 2010 and has been featured in group exhibitions at the Columbus Museum of Art in Georgia and the Auckland Museum of Art in New Zealand. Kukec lives and works Miami.
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source: artsynet

Describing his mixed-media sculptures as “sensually abstract forms” and his body of work as “A Cosmic Post Contemporary Psychedelic Melodrama,” Sinisa Kukec produces amorphous, shining forms that spring from his consciousness and observations of his surroundings. Using an assortment of materials—including discarded furniture, mirrors, ceramic, paint, epoxy, and neon—he crafts wide-ranging forms that read as funhouse portraits of himself and the contemporary world. Perception—of oneself and one’s surroundings—is key to his practice. By incorporating bright colors, reflective surfaces, fragmented objects, and open-ended words and phrases into his sculptures, he aims to unmoor viewers, demonstrating the constantly shifting nature of perception. Kukec expands upon this with 3PQ, an artistic collaborative he co-founded, which stages collective, experiential art making events that blur the boundaries between art and life, fantasy and reality, the self and others.
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source: nyvoltashow

Sinisa Kukec seeks to create an installation that invokes the simple, subliminal power of the “primary” as in space time. Through the use of reflection, heat, gravity, color, geometry, and a word who’s ultimate origin is unknown (red, yellow, and blue / square, circle, and triangle / slut). Kukec draws from Leonardo da Vinci’s Vitruvian Man, a work based on the correlations of ideal human proportions with geometry, by the ancient Roman architect Vitruvius, who described the human figure as being the principal source of proportion among the Classical orders. Alongside this ideal, Kukec places a word who’s ultimate origin is unknown; sluts or “slut”, which first appeared in Middle English in 1402, with the meaning “a dirty, untidy, or slovenly woman” (and in time men). However, Kukec refers to the word as ‘non gender (human) greed’.

This new work is a tangent of an ongoing body of work by Kukec called GRAVITY- WELL, an investigation of the invisible forces in the universe (whether it be gravity or human ideology) that can influence an experience seemingly confined only to the sense of ones own being.

Kukec harbors a profound curiosity towards gravity, indeterminacy, the elusive nature of consciousness and how their mysterious behaviors affect our place in the universe. Kukec’s work is produced through an intensive studio practice, consistently experimenting with differing materials and methodologies; all the while, maintaining cross-disciplinary interests in applied sciences and philosophy. Kukec, in his own words, ‘cast(s) pataphysical doubt on the insane belief systems of the masses…a ‘bottoms up’ approach, an attempt to reinvent how humans think and feel.’
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source: charlestoncitypaper

Contemporary artist Sinisa Kukec is almost your average dude. He likes to drink beer, flirt with girls, watch mindless action movies, “research” porn. But then there’s an altogether unique, mind-bogglingly creative side to the artist who’ll be taking up residence at Redux over the course of the next month.

Kukec’s exhibition, From Void to Void, is a sequel to his Farewell Fountain show in Miami last fall, and will run from its Friday opening until September 10. Although the art is expected to be extra vibrant, it also has a forlorn flavor to it.

The 43-year-old Kukec uses his urban intellect, slick sense of humor, and green-savvy imagination to create bizarre and beautiful art that turns garbage into gold. His art begins very literally on the streets outside his Miami home.

“I have never lived in a city with so much trash on the side of the road. At the end of each month, you can potentially find a whole new body of work. Lately, I have been attracted to office furniture, desks, and chairs, or what I like to call points-of-power furniture,” Kukec says.

Kukec’s recent works begin with a “point of power” and build from there to ultimately reflect his common theme, or the core of his art. “The core of it is apparently consciousness, and everything outside of it. I like to think about it as a lifetime,” he says. Kukec was born in Croatia, grew up in Canada, and, thanks to an artist green card, has lived throughout the United States. He currently resides in a “cave-like dwelling” somewhere in Miami, where he utilizes very few amenities. Although he’s lived there for five years, he only installed hot water last winter. He calls his living/work situation “urban camping” and admits that it affects his work since what he creates is largely autobiographical.

“My work is my life and vice versa. I am interested in understanding my experience of consciousness and how it relates to all the things outside of me,” he says.

Kukec has never visited Charleston, and is looking forward to it not only because he has read that it’s America’s sexiest city, but because, in his travels, he’s learned to value discovering places like Redux.

“It’s an opportunity to share and exchange thoughts, ideas, and feelings about stuff around us, as a human and as an artist. I am a perpetual student,” he says.

As for From Void to Void, Kukec warns viewers not to have any expectations — he says that they usually lead to disappointment. Even the amount of sculptures that will be displayed is a secret.

“Over the past year, you can say I have been fighting for love in a dream, and I guess dreams are pretty subjective, so it’s hard to say what someone else might experience. I recently described the work as a cosmic, psychedelic melodrama, but ask me six months from now and you might get a different answer.”