Almeria, Cordoba, Granada-Sevilla, aquarelle on 800 grams Hanemuller paper,57x76 cm, 2009
EastCoastLand, (New York) pencil on paper, 140 x 150 cm, 2008
El Masnou, aquarelle on 800 grams Hanemuller paper,57x76 cm, 2009
Spanish wind, aquarelle on 800 grams Hanemuller paper, 57x76 cm, 2009
NYC2, pencil on paper, 94x94 cm, 2011
Rolling Cities, (New York), pencil and aquarelle on paper, variable size, 2009.
Almeria, Cordoba, Granada-Sevilla, aquarelle on 800 grams Hanemuller paper,57x76 cm, 2009 EastCoastLand, (New York) pencil on paper, 140 x 150 cm, 2008 El Masnou, aquarelle on 800 grams Hanemuller paper,57x76 cm, 2009 Spanish wind, aquarelle on 800 grams Hanemuller paper, 57x76 cm, 2009 NYC2, pencil on paper, 94x94 cm, 2011 Rolling Cities, (New York), pencil and aquarelle on paper, variable size, 2009.

The Third Landscape
diSTRUKTURA

By a simple change in motifs and/or perspective the canvases, painted in the tradition of landscape painting, become a reflection of the actual moment and modern day life. We thus come across motifs of “pure” nature that are “damaged” by pixellated motifs we associate with digital photographs. The works rely on and exploit our perceptual habits and so allow for multidimensional fields of interpretation relating to today’s political, economic and technological living conditions.

Our themes have to do with the process of revealing meticulously perceptual premises that fall under two vast existential foundations. The first one is the constant laws of nature as manifested in the environment, in vegetation and optical representations. The other evident existential foundation is that of human and social architectural changes that are represented through a digital syntax. What these works suggest is a collective aesthetics and an anthropological study of the contradictions between spaces – those transformed by man and the metaphysical ones that generate a new “third landscape”. This landscape combines pure nature, destroyed landscapes, chaos and endless cities of our contemporary society with digital interventions, glitches and pixels. It is the meeting point of the man-made landscape and nature in its primal form as we attempt once again to point out and re-establish the ties that have been severed between man and Nature.

Treći pejzaž
diSTRUKTURA

Platna, slikana u tradiciji pejzažnog slikarstva, decentnom izmenom motiva i/ili perspektive – postaju odraz aktuelnog trenutka i savremenog života. Tako nailazimo na motive “čiste” prirode, koji bivaju “oštećeni” pikseliziranim motivima znanih iz digitalne slike. Oslanjajući se i koristeći naše perceptivne navike, ovi radovi otvaraju višedimenzionalna polja čitanja, vezana za političke, ekonomske i tehnološke uslove sadašnjice.

Teme kojima se bavimo pripadaju procesu detaljnog otkrivanja perceptivnih premisa koje pripadaju dvema nepreglednim osnovama postojanja. Prva je prisustvo postojanih zakona prirode kao što su prikazani u spoljašnjem okruženju, vegetativnih i optičkih prikaza. Očigledno je priznavanje druge teme postojanja koja pripada prikazu ljudskih i društvenih arhitektonskih promena, predstavljenih ovde digitalnom sintaksom. Ono što ova vrsta radova sugeriše je kolektivna estetika i antropološka studija kontradiktornosti između prostora – onih transformisanih od strane čoveka kao i metafizičke prirode koji kreiraju novi “treći pejzaž”. On kombinuje čistu prirodu, uništeni pejzaž, haos i nepregledne gradove u današnjem društvu sa digitalnim intervencijama, gličevima i pikselima. To je mesto susreta man-made pejzaža i prirode u svojoj primarnoj formi, u još jednom pokušaju da ukažemo i ponovo uspostavimo pokidane veze između čoveka i Prirode.

Back to top