of nature. But, precisely due to his orientation as a painter, he feels and interprets this phenomenon primarily within the categories of light and shadow, form and limits, solids and voids, black and white. Given that he recognizes Vaništa's example as a model, it is clear that he sees drawing as a form of conjecture on some sort of inner harmony, penetration into the metaphysical order, the establishment of an immanent system and structure. The coastal scenes from Punta Skala near Petrčane provided Radman with the material he needed to create the organic tension of lines and blurs, to weave an unconventional network of thick knots and broad stitches in the delicate confrontation of the horizontal and vertical, to extrapolate from an abundance of data only the coordinates of spatial trajectories and loci of overlapping light. To be sure, the surface of the sea provokes a more balanced response by the hand, while the relief of the cliffs prompt a more nervous hand-stroke and the representations of underbrush create spasmodic hubs of darkness. In any case, one can say that Radman does not

Dr. Tonko Maroević

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