Zeljko Kipke:

"From my perspective as a paniter, to the extent that I can observe this objectively, it means very little. Insisting on a local "pedigree" would localize and thus marginalize something that from the very beginning is limited only by cartography of the world. Almost in a relation one to one. In this sense, one could perhaps speak of a "handicap", since in the context of coordinating huge fields of energy the national question is meaningless. However, the day-to day picture is radically different. On the European market of ideas, still labouring under the linear view of the world, the historical status of the artist is a very important factor of reception. Owing to the "daily games" played in this country,s political arena, the attention of the foreigners to possible exports of "Croatian" spiritual goods is slightly heightened. Let me add that the synthetic character of my cabinet naturally reckons with a more discrete morphology of Croatian culture."

Gapa: For me, the sculpture must be the embodiment of the out-of time nad out-of-space imagination of creation and existence: in one word, it has to reflect life.

Question: What do you want to acheive by making sculptures?

Gapa: If we take the sculpture as a reflection of life, then it is life itself. I want to achieve life, the life of the sculpture.

Question: What are the features that determine the quality of sculpture?

Gapa: If it attracts our attention, if it does not leave us indifferent, if it is enriching, then it is, in my opinion, a good sculpture and these would be its main features.

Question: How would you define the work of a sculptor?

Gapa: If you ask me if the artist,s need for creating is powerful enough to make sculptures, I would say it is not. Through his work, the artist has to communicate with other people, he has to have an influence on them and he even has to educate them. If there is no communication, the work of a sculptor is not socially efficient.

Question: Do you think taht a sculptor makes his sculptures at his own risk?

Gapa: if you do not have any background, you work at your own risk, which is the worst option, both for an artist and for the whole society that those sculptures are dedicated to. The need for sculpture shoul involve a greater action and not just individual efforts of the artist.