“The double and or multiple layers of Hari Ivančić’s paintings are something absolutely new in both Croatian and world terms, at least as far as the author of these lines is aware. For almost a year and a half, according to the artist, his oil paints kept separating and falling off the canvas, as it was completely saturated with material, and he would gather them up from the floor, time and time again, and return them to the vertical surface.”

Berislav VALUŠEK, July 2013

“Only the stylistic elements of his work have changed, systematically, gradually, carefully, arising from deep inside the artist’s spirit. From the delicate associative-symbolic iconics of the early nineties to today’s artistic synthesis, in which from his mimesis only the monumental dynamic configuration of red, white and grey fields remains, moving rhythmically upwards, to the heavens, like a prayer.”

Gorka OSTOJIĆ CVAJNER, July 2010

Director of the Istrian MOCA

“Where Ivančić’s ripping and cutting the canvas is concerned, it becomes vital curiosity regarding contrast and the fruitful confrontation of two phases, two layers or two entities of the painting. Taking hold of chance, including a certain aleatoric element and surprise, our artist accepted this as an opportunity and a challenge to enrich the balance, to attempt a true deepening of the demanding questions of the life of forms.”

Tonko MAROEVIĆ, June 2010

“That is to say, the paint is added in thick layers, which seem to melt into one another, or partially overlap, crossing one over another, but not covering the lower layer completely. The roughness, the relief of the pigments, also adds something direct, decisive, “workmanlike”, so the painting, despite being organized and structured, retains in itself the spark of organic life, the ability to renew itself, so to speak.”

Tonko MAROEVIĆ, August 2007

“In the general turmoil of all there is, Ivančić seeks to and can establish his lands. If we say too that seen from a linguistic viewpoint, he also offers us most often the white and red lands, I have said that he promises us the bipolarity of the world: the white ether, as the whiteness of the air and the red of blood, like the ruddiness of the secular – a figure of spirit and body, the astral and the material.”

Igor ZIDIĆ, June 2003

Director of the Modern Art Gallery, Zagreb

“The soil, seen as earth, is the basis and support, the archetypal world of the subject and observer. The base. The beginning. Solid ground. Adorned by light, this principle of the firmness of the earth is decomposed into the sensual but also passionate principle of man’s eternal return to it. ”

Nataša ŠEGOTA LAH, May 2001

“We can, of course, mourn or complain about the fact that someone’s homeland is small, quiet or soundless. But, each plot of land in our life is also our only framework, and it depends on human or spiritual strength whether that narrow place or brief moment will become a sanctified corner or touch the edges of fable, the only gateway to heaven. ”

Mladen PEJAKOVIĆ, December 1999