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EARLIEST CHILDHOOD / Drawings on handmade paper,  1989-1992 

 THE EARLIEST LOST MEMORIES   1989-1992. com. technique on handmade paper
.The primary experiences of smell, touch and taste, originating in our first oral experience of breastfeeding are treated in this cycle as restrained illustrations of the memories of this unique period when our life incarnate... These works are only part of larger collection of spatial installations created for the 1994 Cetinje Biennale... (International Round Table “To See in Darkness”1994)                                                                                     Author  

BOXES and CHILDHOOD / Drawings - 1990-1992 

The BOXES OF EARLIEST CHILDHOOD 1990-1992. com. technique on paper and wood boxes 50x70cm
...The exhibited cycle numbers around 40 works on hand-made paper, and they are placed in special wooden boxes 15 centimeters deep and 50x70 cm surface dimensions (the boxes are replicas of military transport boxes used by the Yugoslav National Army during the Balkan civil war 1990-1992. - precisely the time when the  drawings were created). These works are only part of larger collection of spatial installations created for the 1994 Cetinje Biennale... (International Round Table “To See in Darkness”1994)                                         Author  

MASKS of EARLY CHILDHOOD   1992-1995 

The FACES and MASKS OF EARLY CHILDHOOD 1992-1994 Drawings of this thematically determined cycle make my research on the question of individuality relevant even in our earliest period of life when special facial morphology enucleates most of the individual characteristics of our face with so-called children's aesthetic bionic features that are universal not only in humans but also in other mammals. These biological features of childhood later form the mask of certain actions and their concealment in the further process of growing up, while in some people in a visually semantic feature they never lose their essential properties even in later life. Some of the primary values ​​of the emotional backgrounds of our growing up: fear, waiting, pain and sadness are expressed in frontal and directly presented portrait forms on these chapters. It is interesting to mention that 20 years after my presentation of these works in 1995, several serious projects on this topic were carried out as urban installations in 2015.                                                                                                                                                                                                                                                                                                        Author

EARLY CHILDHOOD / Drawings - Combined technique on paper,  1992-1994 

The FACES OF EARLY CHILDHOOD 1992-1994 Drawings of this thematically determined cycle make my research on the question of individuality relevant even in our earliest period of life when special facial morphology enucleates most of the individual characteristics of our face with so-called children's aesthetic bionic features that are universal not only in humans but also in other mammals. These biological features of childhood later form the mask of certain actions and their concealment in the further process of growing up, while in some people in a visually semantic feature they never lose their essential properties even in later life. Some of the primary values ​​of the emotional backgrounds of our growing up: fear, waiting, pain and sadness are expressed in frontal and directly presented portrait forms on these chapters. It is interesting to mention that 20 years after my presentation of these works in 1995, several serious projects on this topic were carried out as urban installations in 2015.                                                                                                                           Author

EGG WITHOUT TAIL (Homage to Leonardo) Paintings / pastel  1993-1996.

‘’EGG WITHOUT TAIL’’ (Homage to Leonardo) 1993-1996 year.

This cycle of works is envisaged as an ambiental installation made up of three connecting rooms. The first exhibits Leonardo's reproductions in their original size. The second room (dimensionally smaller with a low ceiling functional virtually only to children) is arranged with drawings dedicated to the childhood of Leonardo's few models. The third and the smallest room holds a cradle with a black opal egg in it (the cradle and the sheets are red). The doors are proportional to the dimensions of the rooms. They are carved according to Leonardo's  sketches for the door of a small chapel in Florence (with spring locks) which have been preserved.  

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