GETTING OUT INTO THE LIGHT: as the most common setting of the painting, in literal sense. GETTING OUT INTO THE LIGHT: as a phenomenon of the new vision of reality. GETTING OUT INTO THE LIGHT: as seeking the way, as engrafting of a man. GETTING OUT INTO THE LIGHT: as a final solution. LANDSCAPE is just a motive, basis, just the way of expressing oneself through symbols. WAY- as a way of life, winding or sheer, muddy or dirty, wide and light, but more often unpredictable on the horizon as the life itself. CROSSROADS are most often doubts, the moments of decision or partings. TREES symbolize people, angels and God. The most favorite ones are the following: poplar- if there are three of them, they represent the holy trinity for sure, but individually they are husbands, fathers, lovers, friends, guardians,…the male principle; birches and willows- represent women, mothers, daughters, girls,…the female principle. And really, even in the paintings without people, there is nothing else but people and their life stories. WATER as time. LAND as a mother. HEAVEN as a father. COMPOSITION is based upon the golden cut or renaissance frame, but with more modern freedom of interpretation, most often in the function of rhythmic repetition of dimensions, like the rhythm in music, some sort of a sound in the painting. PASTE, i.e. structure, symbolizes a man’s imperfect attempt to imitate God and to create out of land, which reveals him to naked truth in front of God, other people and him himself. LIGHT AND COLOR symbolize perfection which like a cape covers imperfect man, it symbolizes God, who with his gentle, light touch gives life to everything on this world, creates balance, governs and protects. CONTRASTS of the basic artistic elements, like in poetry, imperfect and perfect, light and darkness, male and female, land and sky, God and man, are the basic prime-movers in the unity of oppositions. TITLES are basically just variants which are less bound to, and are more in charge of stirring one’s imagination, and mostly revealing the sentimental relatedness of the author with his works. The difference between perception and reality is like a difference between ambitions and accomplishments. There were lots of reasons why I have decided to engage myself with painting, and one of them was to find out the truth about myself or, at least, to come closer to it. The beginnings of this attempt, as well as the first rough drafts, date from 1996, and up to now, a single day didn’t pass away that I didn’t work on these paintings. I have done all I could, and I wanted a challenge to the utmost limits, at least once in my lifetime. Soon, I realized that good paintings don’t ask for a good painter, but for a noble man and many more other things also, so the challenge has become manifold, and the relation between me and my paintings has become bilateral- as much as I have invested in them, they have been instantaneously paying back, for which I am immensely grateful. Finally, I summed up my present maximum, which essentially diminished the difference between perception and reality, and most of all, it improved my positive attitude towards the world and people, and towards the faith in God, which I really lacked. Certain amount of the positive energy will for sure shine out of the paintings as long as they exist, the particularity of the paintings lies not only in the fact that a man never appears in them just as a figure, but also that there is no painting which is not full of people, God or the Holy Spirit. No matter how the paintings will be accepted in public, I have already been rewarded because the pleasure of creating exceeded the numerous and great difficulties I came across, so the thoughts about material things, about money, stay beyond, far away enough not to spoil my original reward. Because the light cannot be bought, which I experienced in a difficult way, but the pleasure and thrill of the conception of God in the light, beyond the wall of percepting reality, I want to share with all the people with a good grace.
Biography: I was born in Serbia in 1964. I am actively engaged in painting from 1991. I exhibited my works at numerous solo and collective exhibitions.
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