VIEW IN MY ROOM
Visto (I) Painting
Serbia
Painting, Oil on Canvas
Size: 70.9 W x 8.7 H x 0.8 D in
Ships in a Crate
About The Artwork
Visa series originate from my personal frustration provoked by innability to get visa for one of the European countries to visit my family. For more than a decade, that was a serious issue for many people in the region of my origin. It also represents natural aspiration and basic human right to travel freely. These paintings were made by simple observation of the actual documents I collected from my friends’ passports. No projectors were used, only the help of the magnifying glass. The countries of the Schengen zone use very similar model of the document. Apart from the small difference in the shades of color of the central area, the main difference lies in the writing of the word ’visa’ in languages of the countries that issue the document. I deliberately emphasized that fact, those letters dominate like some object of desire for those who put put an effort to get there. Personal data is also deliberately avoided, to induce a feeling of empathy and compassion. Apart from oil paint, I used glued glitter powder on this painting to imitate shiny areas on the actual document. Visto means visa in Italian and the painting is the segment of the visa document with that inscription.
Details & Dimensions
Painting:Oil on Canvas
Original:One-of-a-kind Artwork
Size:70.9 W x 8.7 H x 0.8 D in
Frame:Black
Ready to Hang:Not applicable
Packaging:Ships in a Crate
Shipping & Returns
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:Serbia.
Customs:Shipments from Serbia may experience delays due to country's regulations for exporting valuable artworks.
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Serbia
I was born in 1973. in Belgrade. As my youth and artistic development were marked by disintegration of Yugoslavia, my native country, and by total decline and devastation of society I lived in, my artwork followed such mindset. Hence the themes and motives such as Clara Schumann from the German banknote which used to be an unofficial currency in the Balkans during the ’90s, and Visas, the actual travelling documents I collected from my friends’ passports which represent inability or a heavy difficulty for the people of this region to travel freely until just recently. Both Visas and Clara Schumann series along with the current artworks from the Hologram series, are treated as if they were some modern still life paintings, that is, as some painter from another era should treat classical pictorial problems such as light, color, drawing or composition, using, for example, jugs, fruits or draperies instead of contemporary objects that I use for exploring similar problems. Meticulous, repetitive, slow and contemplative method of painting these paintings stand in deliberate opposition to speed and superficiality enabled by technology in the contemporary world. Therefore, I don’t use any help from that technology, I simply observe and imitate what I see using my time as the most valuable resource.
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