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Young Zagreb's painter Diana Simek represents herself with first of three partly prepared exhibitions derived from observing, studing, analyzing and painting of male and female – separately and then taken together – divested body, accurately nude. First cycle of dreamed «three-part» is devoted to male nude. Considering age and gender of the artist, and hidden sexuality present in in her work so f  ar (Unusual day, Dance) this is very important because this concealed and mostly indirect erotic component we experience as a kind of constant of artist's expression, here accomplished throught ilusioned attraction of contrariety, that is almost Pigmalion-alike painted men's object of woman's inner fantasy. Althought nowdays painting male in academic pose looks anachron, the artist throught synthetic, technologically filtered image connects to the spirit of this already fully High-Tech structured time. In fact, what we allocated as academical – primary source Ancient sculpture – and what is practiced on first year of Academy, the artist derives from origin enviroment and with allready mentioned digital processing, through nowadays prism of idolizing the cult of body and corporeality impliing the oposite sign, she articulates quite contemporary. Her curos is not clasically idealized,  nor porn-macho-pumped up type of men. But poses of the model are clasical and taken from history of photograph art, which was modified from other authors from history of fine art, in such way that reticle of stimulation is structured within multiple layers. According to this sources the artist composes her own model which is visible in carefully aranged scenography of soft materials. The subject is actualy beauty of man’s body – as seen and admired by artist– about invastigation of endeavouring tensions, dynamics of frozen movement, stretching, flexibility and elements harmony of figure accomplished through graduation and contrasting the lights and coloured shadow of already acquired and elaborated infrared painting that suggests the heat of the human body.
This is the way of natural release materialized through artificial devices. Also, like the geometric  focus the artist adds the symbol of circle in a shape of cd-medium which suggests unvisible female presence in scene, because since Vilendorf's Venus everything round, plumpness and soft was female, but here in fact sharp, abstract, ornamental and cold which additionally emphasises present moment. Denuded and imposed her model to differente poses, the artist denudes herself and her attitude toward sexuality which on this paintings looks restrained, nice and unobtrusive.
Zeljko Marcius
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