WE ALL LIVING IN AMERICA Painting

Whatever has been said so far concerns, to a certain extent, Nenad Vorih’s works. Calling Vorih a landscape painter is only apparently a blasphemy. In fact, his view-like, bird’s eye sights of anonymous, modern mega-cities are in no way different from the sublime anonymity of the “heroic landscape”, that famous iconographic 17th century landmark. Indeed, in both cases, human figures are unrecognisably small, insignificant, even erased from the picture, whereas landscape itself is totally abstract. We are inclined to consider him as a modern painter of heroic landscapes. Why? Because he paints nameless cities, using patterns of trivial, photographic optics. Vorih’s skyscrapers, streets and bridges, which are - logically - mere artefacts of materialistic culture, within the concrete painting procedure turn into quite irrational, unreal reality maps.