Painting Beyond its Limits

The space of representation is certainly not a fixed entity. The history of art can even be seen as a sequence of changing conceptions of the space of representation. There have been periods in which representational space was defined as illusionist space; in polemical reaction to this many twentieth- century artists have devoted their careers to fighting illusionism and have instead explored the flatness of the painted image.


In his works made in cycles since 1998, Ðorđe Stanojević conducts an act of leap into a painting not as a subject matter, but moreover as a result of distinctive secret procedures. He devotes himself primarily to achieving the optical effect of distance because this leads beholder into the image. This comes in focus inside optical itineraries they plot - that is, in terms of different wanderings of the viewer into image.


Nevertheless, the range of the notion of visual is assorted less as the proof of individual attitude and mental strength, but moreover toward a social construction. Relevant examples such as the notion of screen, have became a focus where electronic imagery has taken over the visibilities of nature and matter. Such state of facts carries the simulation of light and perceptual senses towards creating new orders of exterior depiction. Has there been any inventive finding as an escaping formula for the act of painting?


Is it possible that such representation with the flat, geometrical and unmimetic impulse in pictorial effect can lead toward new conscious results? All of the cycles with distinctive titles, Ðorđe Stanojević are determined attempts of a painting in pulsating intensity. This makes each of sensations as well as the depicted phenomena a gratifying occurrence comprised from a fluctuating spiritual presence of expressive and optical depth.


The pursuit of “Spreading” is dedicated process of accelerating particles of nature, whether of animalistic or vegetative spectres developed into a cosmology matrix. This demonstrates an individual program holding the very standards of techniques and the imminence of artistic painting ideals.


Images that belong to the cycle “Stairways” project a religious experience that can be seen as sensory percept reflecting a tactile and intimate historyies. The group of mixed techniques works from the cycle “Letter” have the effect of palimpsest – a combination of colour textures and an elusive prayer syntax, while “The Rain” leads a realm of diverse media effects. Starting as the photography work of tiny although dominant raindrops before the slightly recognizable urbanscape, this procedure leads toward the very conscious painterly pigment matter. Such exploratory principle evolves also into a realm of virtual world, as the images from cycle “Something from Nothing” do register from screen program templates like the accelerating of moving light and the mode of generated fractal depictions.
This dynamic core is also bred inside cycle “Horizons” revealing a luminal dimension, a shining light for a mere transparency of the painted composition. Symbolic revelation inside paintings “Earth” is an offer of differentiated colour territories, comprised from a tempered diversities, from the cooling portions and their opposites the loops of inflammation as the relation of trails of very existence and the sensitive tensions that articulate indirect ethical standpoints.
The dense color as well as the grid-like structure in selected paintings are an evidence of constant dynamics. This proof appeals to a reality of a created composition of inner world as a private, indivisible and immensely varied process of artistic consciousness.


In the same direction of our gaze and experience, simultaneous blocking / revealing devices aim a sonority of the sensible vision. Correlation between conscious experience and sustained activity recall diverse time periods as such examples inside “Letter” or the visuospatial amount of paintings “Earth” persist from an oscillatory mechanism – a pulsating reality in the very essence of a created painting. The active fusion of exuberance with a uncertainty is examined inside light pertinence of the media of painting. The interplay between the modes of vision form a rhythm that exposes the irreconcilability of “common memory” and through artist strive lead a pathway to a “deep memory”. Following such dynamic artistic reflection, there is a reach of an ecstatic treatise of presence and intuition, becoming an invaluable challenge of revelation.

 

Nikola Suica