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This composition containing multiple pieces can be arranged in a number of ways. It consists of pieces and motifs we usually see in still lifes. The masterpieces of Flemish or French Rococo painting reached the world in tapestry form in the absence of good reproductions. They reached all corners of the world while the original concept, line of thought and aesthetic were lost. These are the pieces I refer to when I mention the provincial transcripts of larger cultural centres. They reached us in this form as well. I find these pieces more interesting than their originals. The staring point of my work is often a smaller porcelain piece or a Gobelin, in which the colour white is dominant. Porcelain is white, as is the background of the Gobelins. Thus, I also use a lot of white in my works. The title of the piece may be considered provocative due to the use of the word “cocaine”. The word, however, is necessary for its sound. It’s also there because of the colour white, as both cocaine and porcelain are white.In this context, the word “cocaine” refers to the whiteness of porcelain.
This composition containing multiple pieces can be arranged in a number of ways. It consists of pieces and motifs we usually see in still lifes. The masterpieces of Flemish or French Rococo painting reached the world in tapestry form in the absence of good reproductions. They reached all corners of the world while the original concept, line of thought and aesthetic were lost. These are the pieces I refer to when I mention the provincial transcripts of larger cultural centres. They reached us in this form as well. I find these pieces more interesting than their originals. The staring point of my work is often a smaller porcelain piece or a Gobelin, in which the colour white is dominant. Porcelain is white, as is the background of the Gobelins. Thus, I also use a lot of white in my works. The title of the piece may be considered provocative due to the use of the word “cocaine”. The word, however, is necessary for its sound. It’s also there because of the colour white, as both cocaine and porcelain are white.In this context, the word “cocaine” refers to the whiteness of porcelain.
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Vitamin, Protein, Cocaine Sculpture

Tibor Lazar

Serbia

Sculpture, Clay on Other

Size: 27.6 W x 17.7 H x 15.7 D in

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About The Artwork

This composition containing multiple pieces can be arranged in a number of ways. It consists of pieces and motifs we usually see in still lifes. The masterpieces of Flemish or French Rococo painting reached the world in tapestry form in the absence of good reproductions. They reached all corners of the world while the original concept, line of thought and aesthetic were lost. These are the pieces I refer to when I mention the provincial transcripts of larger cultural centres. They reached us in this form as well. I find these pieces more interesting than their originals. The staring point of my work is often a smaller porcelain piece or a Gobelin, in which the colour white is dominant. Porcelain is white, as is the background of the Gobelins. Thus, I also use a lot of white in my works. The title of the piece may be considered provocative due to the use of the word “cocaine”. The word, however, is necessary for its sound. It’s also there because of the colour white, as both cocaine and porcelain are white.In this context, the word “cocaine” refers to the whiteness of porcelain.

Details & Dimensions

Multi-paneled Sculpture:Clay on Other

Original:One-of-a-kind Artwork

Size:27.6 W x 17.7 H x 15.7 D in

Number of Pieces:2

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I reconstruct and transform idealized visual codes from the great historic eras. I attempt to follow the changes they go through, manipulate them and with them, from a more distant position, in terms of time and history. At times, I play with the canons of the past, treating them with nostalgia or irony, aware of their changeability and instability. To achieve this, I use the tools of the movements of the margins, often using spray paint and other materials for expression that are favoured by these movements. My hope is to establish a sort of meeting between seemingly opposing esthetic and art strategies in my works. The turn of the century and the culture of street art, two very distant and, at first glance, different worlds meet and intertwine in my works. I attempt to find the connections between the past and the present – their parallels and collisions.

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