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O KOMETAMA I JEDNOJ KROŠNJI IZ PRIČE(I.) Promatrajući domaćim teleskopom naš likovni svemir, upravo u razlici između slikarskog i crtačkog procedea leži odgovor zbog čega se crtači brojnošću mogu uspoređivati s kometama, dok slikara ima poput meteorske kiše!
Znam da se mnogi neće složiti s ovom usporedbom, no cilj ovog napisa ionako nije slaganje s nekim, već uočavanje i valorizacija jedne nadasve snažne crtačke osobitosti pod imenom i prezimenom Mario Sokolić.
Crtačka disciplina je u odnosu na slikarsku zahtjevnija. Crtaču je na raspolaganju linija. Svaka greška se stoga okrutno kažnjava. Dok slikarstvo posjeduje plohu u koju se poprilično toga može “sakriti”, crtači (mislim na prave rasne crtače u koje spada i Mario Sokolić) su uvijek u dvostrukoj opasnosti. Prvo, ukoliko koloriraju crteže svrstavamo ih slikare, što je nonsens, a drugo: kod crtača sakrivanja jednostavno – nema.
Prije nego što krenemo u analizu Sokolićevog nevelikog ali snažnog opusa, potrebno je napomenuti kako autor maestralno vlada crtačkom tehnikom. Spojena sa Sokolićevim načinom promišljanja realiteta daje sasvim novu estetsku dimenziju, a isto tako omogućava autoru da s lakoćom iskaže svoju likovnu preokupiranost. Prvi dio opusa čini sadašnjost koncentrirana u trenucima običnosti. Drugi dio opusa je budućnost. Simbolički gledano drvo povezuje sve tri vremenske determinante. Korijen je u prošlosti, stablo u sadašnjosti dok je krošnja u budućnosti. Stoga nije čudo što je drvo motiv Sokolićevog opusa.
Todorowsky, 1999.

ON COMETS AND ONE TREE CROWN FROM THE STORY (I)
Watching our universe of visual arts through the domestic telescope, the very difference between drawing and painting gives us an exact answer why the number of drawers can be compared with comets, whereas painters are as numerous as a meteor shower.
I know that many will not agree with this comparison, but the aim of this article is not to agree with someone, but to recognize and valorize one, above all, strong drawing personality, whose name is Mario Sokolić.
When compared to painting, the drawing discipline is more demanding. A drawer disposes with a line and he is severely punished for every mistake. And while painting, has a “surface” on which many things can be hidden, drawers (I have in mind real, “full-blooded” drawers, where Mario Sokolić can also be included ) are always in double danger. First of all, if they colour their drawings, we classify them as painters, which is nonsense, and second, for them hiding is simply impossible.
Before we start analyzing his, still not very big, but strong opus, it is essential to mention that the author has a master’s knowledge of the drawing technique which, connected with his way of thinking about reality, gives an absolutely new aesthetic dimension enabling the author to express his artistic preoccupation with ease. The first part of his opus consists of the present, which is concentrated in the moments of the ordinary. The second part is the future. Symbolically the tree connects all the three time determinants. The root is in the past, the trunk is in the present and the crown of the tree is in the future. No wonder the tree is a permanent motif of his opus.
Todorowsky, 1999