 |
He graduated with a PhD in painting from the Faculty of Arts and
Design in Belgrade (mentor: Emeritus Prof. Milos Sobajic) in 2017.
He also holds a Master’s degree in painting from the Academy of Art,
University in Novi Sad (mentor: Prof. Milan Blanusa), which he
obtained in 2000. He completed his undergraduate studies in painting
at the same institution.
He is a member of ULUS (Association of Fine Artists of Serbia) and
served as the vice-president of the Art Council of ULUS from 2011 to
2013. He has been a member and president of judges on several
republic exhibitions. Due to his technical and organizational
skills, he was a member of the Republican Commission for entrance
exams in art schools and a member of the Committee for drafting
tasks for entrance exams in art schools in 2002.
He has exhibited independently at numerous republic and
international exhibitions and has won several awards. His most
important awards include: Art Academy (N.Sad, 1981); October Salon
(Sabac, 1997); For Portrait (Sabac, 1997), For Painting (Loznica,
2000); The International Award Andrea Mantegna (Mantova, Italy,
2017), Annual Award ULSS (Sabac, 2018), the International Awards
Premio Canaletto (Venezia 2017); Tribute to Tiziano (Venezia, 2018);
Award for Drawing, The Cultural Center (Sabac, 2018). He has given
interviews for many TV shows about his art. His work is present in
many private collections and several institutions, both in the
country and abroad.
He currently lives in Sabac, Serbia, where he works as the president
of the Association of Fine Artists (ULSS), Sabac.
Contact: Mobile: +381658435287 |
About my pictures:
The figure is my deepest choice. This is my field of exploration for
a possible expression that will realize the unity of form and
meaning. In my opinion, the image has to carry an energy charge that
destroys any indifference to the observer and leaves a strong
impression on them. If that charge does not exist, the image is
empty.
My paintings are a product, a reaction to my life experience, based
on my experiential relationship with the given reality; my poetics
is actually on that dark side of life; personal and general. Maybe
my pictures are on the other side of beauty, but I want to express
the feeling of horror, fright, the tragic side of human existence.
Painting, although created within one direction or artistic
influence, is of a deeply personal nature; the search for the
meaning of life occurs only within the boundaries of individual
self-confirmation.
My attention was directed towards the essence of a painting which is
observed through a specific prism of personal sensibility, in search
for a painting as a personal reflection. During the research and
presentation of the works from the “Scream” and “Figure and Space”
cycle, I tried to affirm an emotion as a dominant substance of a
painting, and thereby as a substance of human existence and
survival, regarding the painting as a product of emotional reaction
to certain traumatic experiences, both personal and global.
One can pose a question if an emotion, in the era of affectation and
totalism of digital media, and widespread marginalization of a man
and his individuality, can stand as a mode of survival, the
foundation of strength of not only traditional painting, but also of
art and humankind collectively.
While I paint the Scream, sometimes I have a feeling (or is it a
subconscious desire) not to paint it, but that it thunders from my
depth, that it is born out of some big storm in me. Then I’m in a
state of inspiration and the creation of an image of a scream is
fast, roughly the duration of one real scream.
These are affective - creative moments when the act of creation is
more intuitive, sensual, than intellectual; moments that through a
powerful move, gesture, resemble an action painting, but I build a
recognizable form. In this way, the rendered image is more a result
of my inner need than a conscious desire.
For those who see my pictures as pessimistic, I recommend the answer
from Nietzsche, who thinks that painting horrible and problematic
things, is in itself a sign of the instinct of power and
magnificence in the artist: he is not afraid of them. Pessimistic
art does not exist, art is positive. While I create, I sincerely
turn to this process, I do not mean the picture’s beauty (I mean
beauty in the classical sense), but I want to focus on the strong
emotion I have experienced - and transfer my experience to others.
No matter how my paintings are my subjective opinion and personal
poetry, I reserve enough space for a spectator and his personal
combinatorics, provoked by my visual expression. |
|
|
1. Scream, Variant II, 2012 acrylic on cardboard 39.3x27.5 in. |
100x70 cm. Price €12,000
2. Scream, variant I, 2012 acrylic on cardboard 39.3x27.5 in. | 100x70
cm. Price €12,000
3. Scream, variant XI, 2001acrylic on cardboard 15.7x1 in. | 40x28 cm.
Price €3,600
4. Figure with an umbrella, 2002acrylic on cardboard 39.3x27.5 in. |
100x70 cm. Price €5,500
5. Exit, 2000 acrylic on canvas 70.8x47.2 in. | 180x120 cm. Price
€14,000
6. Moving staircase, 2000 acrylic on canvas 68.8x5.1 in. | 175x130 cm.
Price €14,000
7. Urban space I, 1999 acrylic on canvas 68.8x5.1 in. | 175x130
cm. Price €9,000
8. Urban space II, 2001 acrylic on canvas 70.8x53.1 in. | 180x135
cm. Price €9,000
9. Exit, variation XX III, 2001 acrylic on canvas 35.4x27.5 in. |
90x70 cm. Price €5,000
10. Figure and space, variation XI, 2001 acrylic on canvas 47.2x35.4
in. |120x90 cm. Price €7,000
11. Red Female nude, 1997 acrylic in canvas 39.3x27.5 in. | 100x70
cm. Price €19,000
12. Head, 2000 acrylic on hardboard 15.7x11.8 in. | 40x30 cm. Price
€2,500 |
