Posterpiece.com is a webshop offering limited edition prints of works by the artist Tino Perdić. All works presented on the site are original works by the artist, either digital paintings or made traditionally in the technique of acrylic on fiberboard. The latter are professionally photographed and prepared for printing before offering as posters on the site.
Limited edition (LE) refers to the finite number of prints available for a particular artwork. The number is usually determined by the artist who where applicable also supervises the production process or acknowledges the prints quality. Lastly, each print from the edition is dry-stamped, numbered and handsigned by the artist. The numbering is usually made in the form of a fraction, i.e. 19/50, where the first number stands for the current number of the print from the edition of 50. Once the edition reaches its end no further prints should be made, otherwise the entire concept of limited edition would be pointless.
The exception to this are small scaled posters which are made as open editions and do not follow this rule.
Prints offered at Postepiece.com are guaranteed to terminate once an edition reaches its end by the artist himself. Numbers of individual poster editions are most of the times as follows:
- Oversized (150x150cm) – Limited edition of either 1 or 3
- Large (100x100cm) – Limited edition of 5
- Medium (75x75cm) – Limited edition of 10
- Regular (50x50cm) – Limited edition of 20
- Small (30x30cm) – Open edition
- Extra small (20x20cm) – Open edition
Other than these several Artist proof (AP) prints can be made for the artist’s quality insurance. These are testing prints with slight variations among them to find the optimal settings with which to make an edition. There are usually no more than three of these, and are often offered for free in sweepstakes organized on the Posterpiece site and/or its social media channels.
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For the time being items are shipped in Europe only and for free on all orders over €50 in a tight and secured cardboard tube to prevent any damage to the poster or in a box for framed posters. However, if the item by any chance arrives damaged, please follow the instructions stated at our Return policy to ensure your satisfaction.
Tino Perdić was born in 1977 in Split, Croatia. Autodidact, held numerous group and several solo exhibitions, admitted to Croatian Association of Visual Artists, a national body of predominantly academic artists by a jury comprised of 5 renowned Croatian artists.
Works from the latest Liberalism series are an expanded and logical continuation of previous considerations of the post-religious world with man and all pertaining in its center. In the broadest sense they strive to describe the human condition through a form of thought experiment and to deductively affirm the sense of the spirit of time, unuttered and defeatistically ignored. The result of these considerations will often seem inclined towards criticism, while being in its intent purely documentary, and as such devoid of judgement, at least to the extent of the possible. For even a name is a judgement, but such that does not influence the objective reality, very much the same as the name of an object does not influence its properties. Instead, they serve more as a catalog references of human experiences. By such analogy the works endeavor to forebode what is hidden by the collectively subjective, without sidetracks in categories of duality.
From an exhibition catalogue:
Artistic taming of the symbolical sphere of life
The basic characteristic of Perdić’s artistic language is symbolic representation of paradoxicality of human existence. His artistic expression strives to strip the symbolics of what is represented in its expressive essence and offer insight into ambivalence of artistic perspective. Freed from redundant and needless his artistic depictions indicate the metaphysical rootedness of symbols. Thus conceptualized art aims to translate this tamed, denuded and artistically sobered sphere of reality into an area of forming new meanings.
The formal structure of Perdić’s paintings can be regarded as a semantically complete whole. Whether it is a fragmented depiction of a detail or an integral pointing to a context the roundedness and harmony of artistic perspective is evident.
In a sense, Perdić offers a foreboding rather than direct depiction, and precisely in that double play of the hidden and the visible lies the symbolical ambiguity of his paintings. Therefore, one could rightly argue that certain motifs of his work are conceptualized segments, fragmented paradigms, cut-off and contextualized meanings of that micro whole above all, striving to symbolically surpass the boundary from the real to the possible.
As an author of a diverse creative imagination Perdić is also greatly inclined to reinterpretations of canonical motifs in fine arts. His imagination calls for a learned interpretation and requires a space for establishing a dialogue, with the observer and the entire tradition of cultural and artistic legacy as well. Using symbolically determined abstraction he rethinks historically and culturally conditioned stereotypes of heritage and modernity. His work is in that sense thematically traditional but artistically distinctly expressive and contemporary, displaying that collective subconscious thrill and disappointment of a modern man in the manner of a psychoanalytical séance. By skillfully using symbols Perdić strives to rise above the clearly defined barriers of the real and the imaginary, determined to open new horizons of understanding and interpretation of meaning.
In spite of his artistic skill Perdić does not mimic aesthetically determined norms of expression. His means of artistic expression are flexible and consistent at the same time. In attempt to show what is hidden to the eye his thematic framework enters the semantic domain of the mental, tactile, philosophical, humane, edible, digestible, provocative and above all personal and congruous to his own calling. One might dare to say that before us we have an author minded to benevolent deception of senses in the purpose of questioning of the settled, commonly accepted mechanisms of visual consideration of tradition and modernity. In that sense Tino’s paintings are not intended for viewing but for visual pondering, and if our introductory assumption is correct the author in question is of serious and artistically dangerous intentions.
More on Tino Perdić art can be seen at tinoperdic.com