Rapsody Painting

Zdravko Milinković, “The Records behind the Traces” Understanding of symbolic potential of Zdravko’s work lays in a search for incontestable art truth, which he defines by a triangle. As a result of intellectual and spiritual order, the triangle is not accidentally the statement of Zdravko’s art. It exudes energy and impersonates creativity and harmony. A movement through this space, whose focal points are medium, contents and creativity, generates a form and a substance. This methodological procedure allowed Zdravko Milinković to come upon a meaningful form, since his sculptures are created so that the medium, by its current condition, necessitates the idea. He proceeds to the sculptural composition by his creative intuition, whereas the work gains its final form in our mind. Besides the sculptures, the synthetic exhibition “The Records behind the Traces” includes the large-format paintings, which were created upon a number of sketches and drawings. In this instance, it is possible to separate between the paintings and the sculptural forms, because the paintings represent an inquiry in the essence of art. As much as the sculptures spread into the space, the paintings also open, offering thus a physical – optical phenomenon. A departure from the material figuration and objectivism develop into the essential direction of Zdravko’s work. The meaning of created artwork remains in the personality of the artist. Whereas his previous artworks incorporated social engagement as a part of the art process, his later work moves towards the exploration of art paradigms, and through the assimilation of multiple procedures enters into the very essence of creation. His works in metal illustrates the continuity of his art engagement. His shift from stone and wood to metal sculpture contours thus the fundamental civilization developments. The articulation between metal and wood is based upon the artist’s experience. In this coexistence metal is dominant, whereas wood by it ethical dimension changes the character of the finished artwork. Zdravko deliberately turns toward this ethical credo, which he considers to be more significant than the language of engaged painting. This reflects his principal perception of the world. By discerning a suitable degree of integration of confronted forms, and by his sense for plasticity, Zdravko succeeded in creating a stable structural form with unusual shapes.