"Pinocchio’s Rhinoplasty" Painting

Mito Gegič (1982) is a visual artist whose work examines hunting as a cultural, political, and symbolic framework through which power, control, and human domination over nature and society are articulated.
His paintings explore the hierarchies embedded in hunting traditions, while opening broader reflections on masculinity, surveillance, violence, and the unstable relationship between humans and the natural world.

At the center of Gegič’s practice is a distinctive process involving adhesive masking tape, which he paints, layers, removes, and reconstructs from one canvas to another. Rather than treating hunting as a rural custom or a practice of survival, Gegič approaches it as a visual and ideological structure shaped by exclusion, dominance, and the exercise of authority. Recurring motifs such as elevated hunting stands function as architectural metaphors of surveillance and concealed power, situating his work within a wider reflection on a world in which humans act simultaneously as managers, exploiters, and destroyers of ecosystems.

In recent years, this vocabulary has expanded beyond the relationship between humans, animals, and nature into a broader consideration of systemic and social violence. Motifs such as drones, military aircraft, guards, and other technologies of control place hunting within the wider structures of contemporary power. Through these images, Gegič addresses the normalization of aggression, the mechanisms of supervision, and the ways violence becomes embedded in everyday social, political, and visual reality.

His work has been presented at international art fairs, including Art Market Budapest, Budapest, Hungary and Nesvrstani, Zagreb, Croatia. He also works with video, installation, and photography, and co-creates the genre podcast O.B.O.D.
Mito Gegič is represented by Y Gallery.