HIT d.d. Nova Gorica, Slovenia
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Miloš Volarič

(1933 – 2010)

Miloš Volarič was born in 1933 in Kobarid. He attended the School of Design in Ljubljana and the School of Applied Arts in Zagreb, graduating in 1957 in decorative painting. Until his retirement, he taught art at an elementary school in Kobarid and received several awards. A member of the Union of Slovene Fine Arts Associations, he passed away in 2010.

Early in his artistic career, he included figures and created realistic landscapes. Soon after, he embraced modernism, exploring spatial effects on white surfaces with assemblages and collages. His “Programs” series is marked by a contrast between spontaneous artistic play and strict geometric order. A series of Aberration Symbols followed, suggesting hidden erotic symbolism, divided into male and female principles. His paintings convey dynamic tension—”entering inward and pressing outward, receiving and emitting, activity and passivity” (Brane Kovačič). Later, his compositions began to feature bolder, human body-like forms, floating like empty shells in an unknown space. Despite his familiarity with contemporary trends, Volarič also embraced subtle, delicate perceptions of his native surroundings.

The nature around Kobarid allowed him to create soft watercolors that, with their blurriness, focus on depicting what remains hidden to the ordinary eye, such as blades of grass, mist over the Soča River, distant mountains, or rainbow light. These works, with their lyricism, are the fruits of his inner reflections and personal perceptions. Volarič frequently exhibited in Slovenia and across the former Yugoslavia, abroad, and in cross-border regions, both solo and in groups. For an extended period, he collaborated with the international group 2xGO, later continuing his efforts within DLUSP (Association of Fine Artists of Northern Primorska). He also gained public recognition as a successful art teacher, inspiring students not only in painting but also in wood, stone, and iron sculpture. Together with his students, he undertook the demanding project of creating several monuments in Kobarid and its surroundings to commemorate events from the National Liberation Struggle (NOB).

“We can paint grass yellow or red, even though it is completely green. It is the sun that gives it a different shine, we just need to observe well. Shadows can be blue, purple, and not just gray and black …”

Work

In his latest works, collectively titled Rojenice (The Fates), he embarked on a mysterious spiritual journey where his love for color and gesture opened up both physical and metaphysical dimensions of his artistic quest. His spiritual landscapes, whose origins cannot be entirely erased, evolved into spontaneous visualizations of emotions and dynamic plays of vibrant layers across a broad spectrum. With their airiness, they emphasize the significance of light, which the painter perceives in new dimensions.

The painted surface, where the artist’s ability to perceive visually always resonates with the viewer’s visual sensitivity, mindset, and willingness to receive, reflects the painter’s message and belief that the idea of art has long encompassed the notion of eternal transformation. It mirrors his knowledge of that symbolic form in which modes of seeing and feeling the world, and thus the environment around us, are born.

 

If the Prophets invade X
1984 | 6/40 | color serigraphy, paper

If the Prophets invade XI
1984 | 6/40 | color serigraphy, paper