2019- Religion remastered solo show


In this solo show all of the selected works, which belong to different series, have a common inspiration resulting from the observation of the modern world. Using the visual and compositional elements of religious iconography, but changing the narratives and characters, a sort of a remastering of religion has occurred. Chosen themes, like history or pop culture, are being explored through the use of dark humor, irony, and with a certain dose of sarcasm as well. The visual style varies with time, representing a mix of ancient byzantine church painting and both pop art as well as hi-end illustration, and we can connect them aesthetically with the low-brow, pop-surrealism and new contemporary art movements. Thematically, in the works from the Serbism series, we can acquire a partial insight into our local, almost biblically tragic story about broken ideals and brotherly coexistence. Digital icons show us how new technologies (digital vector drawings) can be used to illustrate the ideals and character archetypes of our modern times. On the series of Icons (from 2018 and 2019), painted with traditional iconographic materials and techniques, we can see idols of our new digital age of social networks, corpocratic president-emperors and the absurdity of modern global politics. Sculptural pieces underline our religious obsession with both consumerism and the brands of multinational mega-corporations, and a hope that by submitting our own bodies, minds and souls to a technocratic deity we shall achieve the fulfillment of that primal urge.

This remaster, by changing its content, has expunged the sacral core present in any religion. What is being offered however is a clearer look into the essence - and complexity - of the problems we are facing today. It is also a kind of warning, that our urge to believe can be diverted towards ideas and things which are not only unnecessary, but are downright harmful to us.

This works and exhibition were featured in the Hi-Fructose magazine article and in the Juxtapoz magazine article (links below).



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