Eugen Varzić: Radiating Truth
Eugen Varzić is a Croatian painter whose work is rooted in realism and emotional depth. A graduate of the Department of Fine Arts in Rijeka, he has exhibited widely, with over forty solo shows and participation in more than a hundred group exhibitions internationally. Influenced by old masters and trained further in Madrid with artists like Eloy Morales and Antonio López Garcia, Varzić blends technical precision with raw psychological insight. His paintings act as visual diaries—visceral, imperfect, and deeply human. Based in Istria, he also engages in design, illustration, short films, and mentoring young artists. For Varzić, painting isn’t just a craft—it’s a vital, daily act of breathing.
How did your creative journey begin?
As a young dyslexic boy, I discovered that drawing was my system — a space where I could navigate the world and express myself in ways that words didn’t always allow. At the age of fourteen, I began learning watercolor techniques from an old painter, and that experience opened the door to a more serious exploration of visual language. Formally, my creative journey began during my painting studies at the Department of Fine Arts at the Faculty of Humanities and Social Sciences in Rijeka. But in truth, art was present long before that — in the drawings of my childhood, in my fascination with faces, stories, and the world around me.
Later on, I had the great fortune and honor to study under masters like Eloy Morales and Antonio López García in Madrid. That period was a turning point — not only because it helped refine my technical skills, but also because it pushed me to think more deeply about the meaning of the image and the psychological layers it can hold.
How do you balance technical mastery with the emotional depth and personal narrative you wish to convey in your work?
For me, technique is the foundation — it gives me the freedom to express what I feel and what I want to say. Once you master the craft, you can focus on what truly matters: the human being, their story, their emotion. Every brushstroke carries weight — whether it's a subtle glance, the position of a hand, or the play of light.
Technical precision allows me to approach psychological realism, to convey the inner world of the person in front of me through portraiture. To create something that goes beyond the image — something that radiates truth. Still, I’ve never allowed technique to overpower the idea. Painting, for me, must remain honest. Technique is there to serve the story, not the other way around.
Are there specific themes or internal struggles that you feel are particularly important to address in your paintings? How do you decide which narratives or emotions to explore with each new piece?
I paint life. I paint every day. I'm deeply interested in people — their inner struggles, their search for identity, their vulnerability. I often explore themes like isolation, introspection, silence... but not in a calculated way. I feel them.
Inspiration comes from real faces — family members, friends, even complete strangers. Sometimes, in a glance, a gesture, or an expression, I recognize an untold story. I don’t choose themes rationally. The decision comes from within, intuitively. There has to be a certain inner force, a strong impulse — something deep and personal enough to push me forward, to inspire me to create a new painting. When I feel that, I know I’m on the right path.
What does a typical day in the studio look like for you, and how has your art practice grown or changed?
My day starts early. Coffee with my wife, then a walk with my dog, a workout — that’s the only time during the day when I have some peace. I don’t particularly enjoy silence — I think and feel best in chaos. After that, I spend time reviewing the works I created the previous day, noting any changes I want to make, and then I start adding new layers or sketches.
Over the years, my practice has expanded and evolved. In addition to painting, I’ve become involved in illustration, short films, design, and I’m currently working on several picture books. I also lead art workshops and mentor young artists. Occasionally, I work on mosaics. My studio is a lively and noisy space — there’s always something in progress, a new project that requires my full attention and passion.
Which experiences have impacted your work as an artist?
As a young man, I participated in the war in Croatia. Although that experience didn’t define me, it taught me to make use of every moment for creation. I didn’t allow the war to shape me, but it did teach me to appreciate each moment and its significance.
The workshops in Madrid were extremely formative – that’s where I learned to think more deeply about what I do. But it’s also the personal stories, everyday encounters, and family moments that have shaped me. I carry all of that with me and translate it into my paintings. For me, art is not separate from life; it is a natural extension of it. Art is like breathing to me – I can’t live without it.
How has social media impacted your work?
Social media has, in a way, met my expectations. It has increased the visibility of my work and allowed for a faster flow of information. It has also opened doors for a global audience, enabling my works to reach people all around the world. Through social media, I’ve made connections and collaborations that would have otherwise been nearly impossible.
However, I strive to ensure that algorithms don’t define my work. While social media is incredibly useful, I want it to remain just a tool, not the central force shaping my creativity. I’m aware of its influence, but I aim to maintain authenticity in my approach and not allow external factors like popularity or current trends to dictate my artistic expression.
Are there any new techniques, themes, or concepts you’re currently exploring or planning to explore in future works?
The core idea of my artistic existence is constant learning. I’m always striving to expand my horizons and explore new approaches. Right now, I’m enjoying painting on aluminum and wood, materials that allow me to interact with the image in a different way. These materials present new challenges, but also offer opportunities to express my ideas in ways I haven’t explored before.
I’m also working on a new cycle called "Different Types of Love." This series opens up completely new doors for me because, in addition to focusing on portraiture, I’m delving into urban landscapes, animalism, and the human body. These are themes that deeply fascinate me, as they speak to relationships, emotions, and the physical expressions of life. This work allows me to push the boundaries of my creativity and explore how love manifests in various forms and contexts.