VIEW IN MY ROOM
Serbia
Installation, Mixed Media on Aluminium
Size: 236.2 W x 157.5 H x 236.2 D in
Part I... How did you experience your personal statics that is dynamiscs ? I have had great problems with it lately- in the moments of statics, when I am calm and steady, my creative energy subsides, I become smug, there is no action. I am being devoured by my own black hole, it grows bigger rapidly, Im not moving. I have crumpled into a fetus positio and now awating a new birth of mine or I am surrendering myself to the process of quiet dying… …and then what? Than I figure out that is more likely to be a quiet dying… I decide to spend these last atoms of strength on a new dynamics by means of my own acceleration… That black hole is becoming smaller but it is still there, it is not devouring me in one bite but it keeps following me and tears me bit by bit. Should I withdraw or act? (one of these journeys) A worm hole showed up unexpectedly, a question of right and left, up and down lost its meaning, although the setting was familiar to me, but what about time? Whose time was it? I have met a person and the conversation did not last for a long time. He was by 99 years younger than before and he was breathing with difficulty. I understood him, hi was living in a 3-D space and the fourth dimension was pulsating and I felt….
Installation:Mixed Media on Aluminium
Original:One-of-a-kind Artwork
Size:236.2 W x 157.5 H x 236.2 D in
Frame:Not Framed
Ready to Hang:No
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
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Serbia
Spartak Dulić is one of the most versatile artists of Vojvodina, and his artistic practice besides painting includes performance, installation and sound works. His paintings are unique blend of the tradition of organic abstraction and abstract expressionism with aesthetics and methods of contemporary urban mural painting. He belongs to the generation of artists who emerged in the nineties at the time when multi-media art became mainstream form to which converged a multitude of artistic disciplines and procedures of post-conceptual art practice. Although he had academic education, his poetics early on included the art of installation and performance. His simultaneous experiments with sound and text, as well as aesthetics of comics and street graffiti, made him a true representative of the generation that considered avant-garde the self-evident strategy of connecting academic and popular cultures, and who practiced it spontaneously. Conceptual, material and technical aspects of this extensive creative discourse, Dulić most distinctively unites in the painting segment of his oeuvre. Peculiar method of their execution Dulić had developed in the previous period, including small collages executed as the three-dimensional structure of superimposed colored paper. His large paintings are essentially painted reductions of these spatial collages to two dimensions; hence he considered them a derivative of the cubist solution of real space representation in two-dimensional painting medium. From this point on Dulić’s painting method involved many historically validated procedures, essentially making for a compendium of the significant portion of the 20th century painting experience. According the chronology of styles, Dulić’s consecutive appropriation of the surrealist automatism method is followed by the performative method of painting on the floor, circling around the canvas appropriated from Jackson Pollock, the founder of abstract expressionism. References to the historical painting methods are complemented by the unorthodox choice of painting material that includes a wide variety of working materials such as façade paint, enamel, spray paint and markers. The series of recognizable appropriated procedures ends with those of street art, graffiti and murals. The final result of Dulić’s painterly synthesis is colorful image of the dynamic dense insides that strongly associate at vivisected body or machine, or rather at their futuristic bionic amalgam.
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