"Biomorphic Signs 8" Artwork

Zoran Banovic graduated in 1996 from the Faculty of Fine Arts in Belgrade. He completed postgraduate studies in the Department of Graphics in 1999. He is actively engaged in the fields of drawing, painting, graphics, and graphic design. He is a regular professor at the Academy of Arts in Banja Luka.

My art, loosely speaking, remains in the domain of the landscape, but with a completely different treatment of everything that enters into one's field of vision. Indeed, in some works, the configuration of the natural environment may be implicitly discerned, but only with the outlines that could be painted in the field of activated sensors of one's internal experience. Everything that can be subordinated to visual play has its worthy significance and finds its equivalent in the artistic sign on which the painting is based. Light is an infinite field, a comprehensive thought with which, as its only companion, I venture into the external world to offer my understanding of everything I have faced and what has been offered for artistic processing.

The Expansion of the Biomorphic:
Between me as an artist and the objective world, there is persistent communication; we are in constant interaction. Here are some of the titles I have used to identify the content of my artistic works: "Biomorphic Signs," "Dynamics of the Biomorphic Sign," "Expansion of the Biomorphic," "Tectonics of the Vegetative," and to them, in terms of meaning, names can be ascribed such as "Resonances of Natural Energy," "Exotic Flora," "Transformations," "Inexhaustible Vitalism of Nature." They reflect the character of my creative process. The generalized concept of the objective now comes down to the biomorphic layer of the phenomenal world, and vegetative stylizations measure the extent to which the decomposition of that world is carried out to build, on its "ruins," the artistic archipelago of forms with which the world of the painting is constructed. Stylization of the vegetative is the morpheme on which the syntax of the image is built, a morpheme as a rhythmic unit that establishes visual solidity and modulates light as a universal category of relationship to the world. The world frees itself from its external, epidermal layer beneath which the reality reachable by artistic imagination is revealed, indicating the rhythmic structuring of the objective world.