My fundamental, artistic practice is the research of possibilities that different art-media, materials, methods and systems of formal-visual construction and modeling of the artworks offer for the personal artistic development and expression.
Within this context, examining the expressive possibilities of analog-collage as artistic media is one of my ongoing projects. I started it in 2018, and maintain it as a kind of my artistic diary, and reaction to the anxious social, economic, cultural, and political situation in my residential country (Serbia) and its regional surroundings. Therefore, these 10 analog-collage artworks, which I am presenting here, are a selection from a larger series I have made so far.
All of the collages are of equal dimensions and framing. None of those collages was created with pre-selected thematic concepts or topics. Instead, the creation process was spontaneous and almost “automatic”. Random press clippings are combined with pieces of various flexible thin materials, and with my old and discarded drawings. The selection and combination of elements were made through a free association. In contrast to this, the process of spatial composition of elements was conscious. The artworks` titles were given after the creation, by comprehending the potential meaning(s) by observing the artworks themselves.
Therefore, the possibilities of interpretation of the symbolic and thematic content of each particular collage are a complex issue. While some of those artworks have a personal, reflective, and subjective, metaphysical, and philosophical symbolism and meaning, others are related to the cultural, social, political, and historical issues of contemporary Serbia and Western Balkan in general.
Yet another level involved in the creation and interpretation of these artworks is their relationship with the concept of modern and contemporary poetry of revolt and rebellion. The closest related, are Yugoslavian socialist, anarchist and avant-garde poetry of the second and third decade of the XX century as well as the poetry of Yugoslavian post-punk and New-wave music from the 80-tees. The connection is primarily established through the dubious, absurd, and chaotic imagery and composition that exists in bough – the mentioned poetries and my collage artworks. However, some ideas, attitudes, and emotions are also shared elements.
MAJOR PROFESSIONAL REFERENCES
– September 2017, No Story to Tell, Pančevo Cultural CenterExhibition Hall, Pančevo, Serbia;
– June 2017, The Image the Sign and Beyond II, Gallery “Polet” Belgrade, Serbia;
– November 2016, The Image the Sign and Beyond, Central European University, Exhibition Hall, Budapest, Hungary;
– March 2014, Skeleton of an Image II, ULUPUDS Small Gallery, Belgrade, Serbia;
– November 2013, Skeleton of an Image I, Municipal Gallery Vračar, Belgrade. Serbia;
– November 2011, The Three of Us, Municipality Gallery Vračar, Belgrade, Serbia.
Honors and Awards:
– 2014, Serbian Association of Visual Artists, Architects, and Designers (http://www.ulupuds.rs/index1.php):
Award for an outstanding art-professional contribution.
– 2013, Center for Fine Arts Šumatovačka, Belgrade:
Special award for contribution to the development of the Center;- 2009, Parish of “Novi Kostolac”
– Serbian Orthodox Church (town Kostolac, Serbia):
Special award for the exceptional contribution in the creation and design of artworks and interior for the Kostolac Catholicon Church.
Most Significant Acquisitions and Commissions:
– (2015-2018), St. Nicola`s parish church in the town of Požarevac (Serbia): Commission of (re)design of the chapel`s interior and the belonging liturgical artworks;
– 2016, Central European University in Budapest (Hungary):
Acquisition of series of 12 graphic artworks for the university art collection;
– 2013, NordArt – Museum of Modern and Contemporary Arts, Büdelsdorf (Germany): Acquisition of the artwork “Тхе Пројекат“ for the museum`s contemporary art collection;
– 2009, World Museum of Drawings, Skopje (Republic of Northern Macedonia):
Acquisition of series of 7 graphic artworks for the museum`s OSTEN Art Collection;
– (2003-2010) Parish of Crljenac – Serbian Orthodox Church
Commission for design and creation of series of 7 mosaicartworks to be installed in different parish’s chapels.
– (2003-2009) Catholicon Church of St. Maxim the Confessor in the town of Kostolac (Serbia):
Commission for the design of the chapel`s interior and for the design and creation of several liturgical artworks therein.
Most Significant Art-education Engagements:
– 2010 till present: Art School Center for Fine Art Šumatovačka, Belgrade, Serbia; (http://sumatovacka.rs/)
Position: Art Lecturer/Instructor.
Job: Designing, facilitating and teaching 4-semester long art courses: Mosaic Art, Medieval and Ancient Painting Practices; Visual/Formal Design and Drawing. Besides, also designing, facilitating and teaching a number of thematic art-Workshops and theoretical lectures.
– 2016-2018, Central European University, Budapest, Hungary;
Position: Guest Lecturer/instructor
Job: Designing, facilitating and teaching art workshops and intensive courses regarding art heritage for MA students in Heritage, Medieval and Environmental studies programs.
– 1997-2000, State Primary School Dragojlo Dudić, Belgrade, Serbia;
Position: Art Teacher
Job: Teaching the subject Art-Education and Visual Culture (students 10 to 14 years of age).
– 2015-2017 Central European University (Budapest, Hungary)
Master in Fine Art (specialization: mosaics, reliefs and mural/wall paintings);– 1994-1997 Higher University School for Art and Design(Belgrade, Serbia)
Graduate (Bachelor) in Art Teaching(https://vslpu.edu.rs/en/)
OUTLINE OF ARTISTIC PRACTICE:
– Examining diverse opportunities for visual design and visual expression in relation to medium and methodology centered artistic creations as well as their aesthetic, symbolic, spiritual, philosophical, environmental and heritage values.
– Searching the best opportunities and methods for transferringknowledge and experience of creating art to my students.