Dalibor Prančević


Modern spectator who is well acquainted with the 20th century art production might think that determining a work of art on a basis of technique or medium is a matter of past. Such opinion is not surprising if we remember a number of highly experimental ideas and movements that relativized the very notion of the medium and reduced it to the level of concept, which ultimately led to its annulment.

However, Viktor Popović begun his career in the realm of painting and than developed towards the experiments with the notion of space. In the recent works an important aspect of his creative analysis has been interferrence of spatial simulations and the plane of the paper, canvas, wood or led surface.

The texture of led plate inspired the series of works presented on this exhibition. The characteristics of the original led surface changed as the artist reacted to it by applicating flesh-coloured coat of paint. This new epidermis of led plate was an adequate surface for printing memory on it by artificial process of silk-screen printing of photographs. The artist had took photographs during his visit to New York and than used them as figural shows in these works. The real space is filtered and the colours of the photographies are reduced to a single hue. Despite this, the space is still a firm representation of the linear perspective and the shortening caught by the artist’s camera. The problem of fictious geometrical space has is a focus of his critical inquiery.

The same problem of fictious geometrical space was the essence of his previous cycle of so called “spatial paintings”. The title itself provoked the uncertainties in the process of perception because it was the plain that dominated and animated the wall surface on which the painting was hung. Despite the shadows in the underlayer the spectator became aware of fictitiousness of the space and reality of the composition of flat, seemingly open, geometric shapes, realizing that such shape could not be transferred in three-dimensional.

Fictitiousness of geometrical space was the last instance of these paintings and its limits were stressed in red colour.

Although these compositions might seem expressionless and calm, they are loaded with the artist’s rich experience. They continue visual experiment started anew but do not necessarily break with “the previous”.

A cold led plate surface is enriched with epidermis that can accept the figural representation. There is an interference of painting manner and impersonal serigraphy evident in both layers. The realism is reduced by representations and the real space of the visit becomes an obvious memorial document. Since the spectator is aware of the plane activating line, the attempt of asserting the geometrical space fails. The spatial relationships are not forced on the spectator but rather lead his/her eye towards the original state of led plate, making the process reversible.
2004
Solo exhibition catalogue preface

Untitled

Gallery Galženica, Velika Gorica, Croatia
April 30 – May 16, 2004

curator:
Dalibor Prančević