Finnish island, oil on canvas, 150 x 200 cm, 2013.
South of Seville, oil on canvas, 120x180 cm, 2010
WestEuropean Landscape, oil on canvas, 200x200 cm, 2006-2007
Dutch Landscape 3, oil on canvas, 50x70 cm, 2014
Autobahn 1, oil on canvas, 50x70 cm, 2012
Andalucia, oil on canvas, 50x60 cm, 2010
Island with the view, oil on canvas, 190x130 cm, 2010
Finnish Landscape, oil on canvas, 200x200 cm, 2010
Veneto 1, oil on canvas, 120x120 cm, 2010
Finnish island, oil on canvas, 150 x 200 cm, 2013. South of Seville, oil on canvas, 120x180 cm, 2010 WestEuropean Landscape, oil on canvas, 200x200 cm, 2006-2007 Dutch Landscape 3, oil on canvas, 50x70 cm, 2014 Autobahn 1, oil on canvas, 50x70 cm, 2012 Andalucia, oil on canvas, 50x60 cm, 2010 Island with the view, oil on canvas, 190x130 cm, 2010 Finnish Landscape, oil on canvas, 200x200 cm, 2010 Veneto 1, oil on canvas, 120x120 cm, 2010

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.

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