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15
Hello Damir and welcome to NotRandomArt. The current issue is revolving around the problem of communication and identity. Is there any particular way you would describe your identity as an artist but also as a human being in dynamically changing, unstable times? In particular, does your cultural substratum/identity form your aesthetics?
During these times, it is a bit difficult to live and survive as a free artist without support of galleries, managers etc. Therefore, an artist has to provide his own existence since there are many resources needed for investment in artistic project and final product. To the realization itself, there is a hard and long road for an artist in unstable times. I see myself as an artist in progress through time and space. Nowadays modern technology and way of life change people and especially artists who have new ideas, inspiration available almost each day. Since that I have lived in several countries in Europe, all of my life cycles contributed to certain changes of my life, work, creativity and place of residence. Main traces of my identity are my roots, my geographic background and they can always be seen in my artworks. The Balkan is very changing geographic and historic area so I believe this reflects on my work phases. I was born in 1980 and the civil war in Bosnia in Herzegovina (1992-1995) had an important impact on my further life and thoughts. I believe people who were refugees in their life always have something more to say and present in order to convince people that current situation is not always as it seems on the first sight, they have deeper impression on world around them.
Would you like to tell us something about your artistic as well as life background? What inspired you to be in this artistic point in your life when you are now?
The talent for creativity was present since I was a child. I used crayons as my toys. I have always been creative with thoughts, actions through my life and education. During adolescent phases, I decided to choose creativity as my profession. Therefore, the art has become a part of me, part of my personality. I consider art as a normal job and profession like every other occupation.
My inspiration is based on fact and my desire to leave a mark in modern art. I would like to make something which will make people remember me as a creator. I am inspired by numerous possibilities which an artist can achieve. Life circumstances, my current work, exhibitions and future inspiration are placed in new cycles of creation which I would like to present to cultural-artistic public around the world. The idea that my work is going to be seen, analyzed and studied somewhere inspires me in a great way. I believe I can offer something modern, inspirative and creative.
Could you identify a specific artwork that has influenced your artistic practice or has impacted the way you think about your identity as a participant of the visual culture?
As I mentioned earlier, life circumstances, development in art culture during time had the greatest effect on my artistic practice and way of my thinking as a participant in visual culture. Furthermore, the complete history of art affected on my ideas and expression through art works.
Many of your works carry an autobiographical message. Since you transform your experiences into your artwork, we are curious, what is the role of memory in your artistic productions? We are particularly interested if you try to achieve a faithful translation of your previous experiences or if you rather use memory as starting point to create.
Different materials and phases in art creation have passed through my development. During these periods, I experimented and worked on my progress through different techniques. Thoughts and perceptions are something which is used for my work. Memories on passed experiences are mostly included in my creation, which are more developed through mentioned techniques, moves, phases, cycles and way of expression. Also, memories and previous experiences are something which I use for development and creation of painting and its transformation into one subject. No matter if the painting is thematic or abstract, I develop it through my experience from previous works. These experiences are a good opportunity for an artist to analyze and study his development and learn if some details are better with different or same way of work. Overall, every attempt to make something new is a kind of repetition of previous moves and textures and their improvement.
What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?
No good technique can be developed without years of practical work. Experiences mentioned in previous question are very helpful in my work. I strive to maximum achievements, freedom in creation, large formats, large brushes, moves. I worked on murals, participated in Street Art festivals, large moves with brush which all need more experience and better conditions for work. Experience helped me to learn how to make a good physical position, how to make a good move with a brush so the freedom in my works and compositions can be seen by observers. It is important to make sense of work, which includes a lot of courage and will. Ideas can be a basis but the realization demands more progressive techniques in order to give a life and certain sense to paintings.
professor of literature at school. More than giving French or Literature classes, she brought us to discover texts, movies, plays, visual artworks and to think about on what we saw or read.. Thanks to her that I met Pierre Vincke, a theatredirector who was worjink in the tradition of Grotowski ... Both of them have led me to go to theater school. In this school I had meetings. Meetings with artists but also and especially human beings that made me discover. I always need o discover rather than to master a practice. It's probably the reason my encounter with Monica Klingler and Boris Nieslony was decisive for me and led me on the path of Performance Art which is a form still difficult to define. Each performance artist has a different definition of what it is...
Could you identify a specific artwork that has influenced your artistic practice or has impacted the way you think about race and ethnic identity in visual culture?
No I don't have a specific artwork that has influenced my artistic practise but many.
I'm influenced by some philsophers as well as poets or musicians or dancers or visual artists but also by some places or landscapes or atmospheres ... For some years, I was used for example to go to India where I was used to follow some traditionnal muscians or to learn bharatanatyam and practice vipassana meditation... Of course this experience has impacted my art work.... This brought me to think and work differently... My experience in India brought me to discover traditionnal strong art and paradoxally to the way of Performance Art. But there I see one common point: to make no separation between art and life and to be here and now, without projection on the future.
It's difficult for me to speak about race and ethnic identity. But I can say that today we miss more and more this notion of “to be here and now” which is more present in some cultures ... By practising Performance Art, it's my way to be connected to this way of thinking. And even in this field actually it's more and more difficult. The society and the art world brings us more and more to plan in advance, to define our work, more than to do. Just to do. To do what we deeply need.
And of course, my encountering with Black Market International and later the notion of Open Source or Open session via PAErsche have also a big impact on my work. When we go on that, each of us perform by sharing time and space but without trying to convince each other on some common way. This is for me a wonderfull way how we can meet each other, regardless of our origin, our race or our “identity”...
Many of your works carry an autobiographical message. Since you transform your experiences into your artwork, we are curious, what is the role of memory in your artistic productions? We are particularly interested if you try to achieve a faithful translation of your previous experiences or if you rather use memory as starting point to create.
My memory is clearly a starting point to create. I don't have any autobiographical message. I use my personnal experience ( what I feel , what I see, what I learn, what I ear...) to work. It's a motor or a material. I'm not able to paint, so I can't do something with red or white or yellow or black colors. All I have is life, a body alive. And I need to do something with that...
My sensation about life sometimes is too intense then I need to transform this intensity in some action. Some artistic action... If people can take something from this action this is great... but I don't want to give them “a specific message” or to control the translation of my experience.