The Hunt Sculpture

That what at first can induce one to think on the occasion of newest performances of Dragisa Milosevic - done on standard discipline of canvas painting something that was in the genuine base of his artistic education - inevitably imposes the comparation with former, nearly exclusive, intensive creation of graphics and sculpture opus in considerable long period of time. With consciousness and knowledge that something valuable and above average in quality can be achieved only by means of great passion and persistence. Dragisa Milosevic has acted so with formation of his own authors world of graphics, tending in each creative zest to build in as much as possible more inventiveness and new ideas, symbolic and semantic layers. Relying on obvious communicative advantages of graphic medium, he had easily succeeded to realise and show his sheets in many worldwide reviews and to get adequate recognition for what he attained. After all it has helped him to be independent of circumstances and conditions of his living and working environment, to avoid easily possible compromises and troubles that could be provoked by withdrawnness and isolation, acting out of greater centers and artistic agglomeration. Dragisa Milosevic in his creative rise is the closest to that methodic principle named accumulation which could also be applied to many other branches of human activities and expression, the incarnation of spirit and one cannot foresee what kinds of transformations this impulsive cases, the accumulation lasts for months, and sometimes it spreads to a number of years or even decades. So that in this series of paintings, which are small in numbers, the former experience and former time are unusually manifested in layers, even the tendency to reductionism and relative uniting, to formal laconism is combined with complicated technical and technological procedure, from facial depicting to polishes and reliefness, from cultivation of nicely depicted, fluid series to almost aggressive, ornamental convulsions. So much variety from painting to painting, from watching angle to another – disregarding the connectedness with symbolic shapes from earlier realized graphics – in its own way designates and defines the nature of creative efforts of Dragisa Milosevic in this moment.