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context of the war-ravaged and devastated European values, both material and
spiritual, Art Informel emerged as an authentic language of the tirne which
visually articulated all the gruesomeness and horrors of war, deep feelings of
dismay, nothingness, decay and death. Close to existential philosophy and
literature in the works by Sartre, Camus, Beckett and others, imbued with
anxiety, fear and absurdity, Art Informel was the deepest ery of the spirit of
the tirne. What is of emblernatic importance for the poetics and philosophy
of Art Informel is the material; it defines it in the ontologic-al sense, the power
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of its phenomenon rests on the material. A whole range of various materials
are introduced in painting, such as soil, gypsurn, glass, sand, paper, fabric.
Colours themselves gain a different meaning outside their chromatic values;
their dripping, leaking and thickening build a visual whole and the idea
behind it — the idea behind the matter which becomes the key protagonist in
Informel painting.
On the Yugoslav art seene, there were many protagonists of Art
Informel, perhaps the only art movement which was taking place locally in
line with the European art trends. In the way how Art Informel affirmed
matter, Luketić saw an opportunity to freely express his own war experience
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and traumas, in a true harmony of ideas and forms. Not only in terms of the
form in the domain of associative abstraction, but also in terms of the material
— iron, and the work process — welding. Ihus, Luketies sculpture at the end
of the 1950s marks the introduction into the so-ca_lled "radical Informel",
regarded by Denegri as typical of the Zagreb avant-garde of the day. In
his work, it is the revelation of structurality (achieved through melting and
dripping) and the construction of forms connected to the natural, organic
shapes — fruits in their own burst womb.
Some of these iconic sculptures from
the Informel period (The Seashell,
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1961; The Flows, Seec4 Growth, 1962)
testify to an extraordinary creative
process, in which, by iron melting,
leaking, dripping and build-up, a spe-
cific texture is created conveying the
impression of overripeness, rottenness,
Stevan Luketič
Skulpo.ita
LLS XIIIl89, 1989.
and decomposition, which emanates
Scuipture swollenness to the point of breaking
the hopeless feeling of nothingness and
LLS XIII/89, 1989 decay, so close to the poetics of Informel.
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konthinovani rnerali, pasta, boja
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oornbined metals., paste, calour
For a better understanding of Luketies
13,5 x 15,5 x6,5 ctn
thought and work process, his piece The
qlasnikw:, I ownership:
Seashell, described by Z. Maković as an
Eleonora i Srefan Lukerič
107

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