Pisma sa planine /// Letters from the mountain
Pisma sa planine, knjiga umetnika, 24 komada, 17,5 x 21 x 18 cm, reljefi na papiru, 2016- 2017. https://www.behance.net/gallery/79051181/Letters-from-the-mountain Tokom jula 2016. godine napuštam Beograd u periodu od dvadeset i jedan dan. Odlazim na planinu Prokletije, i u nasumično odabranoj lokalnoj kući iznajmljujem sobu, hranu i kupatilo na period od nepune tri nedelje. Meštani me upućuju na šumske puteve i nezaobilazne predele koji se moraju videti. Veći deo ovog vremena provodim u šumi, kod sebe imam kompas, ćebe, neku hranu i fotoaparat niske rezolucije. Tokom ovog perioda u iznajmljeni smeštaj vratio sam se tri puta, svaki put ga napuštajući u različitom pravcu, uvek suprotnom od onoga kojim sam stigao na nasumično odabrano odredište. Poušavam da se ni u mislima ne vratim originalnom poreklu, odbijajući dublje konverzacije na temu zašto sam tu i šta radim. Beležim mesta, predele, biljke i prizore. Nasumično biram kadrove, i nemam nameru da ih sortiram ili pretvorim u rad. U momentu nastajanja oni su podsetnik gde sam bio, mapa kretanja, kako bih mogao da se vratim nazad a da se ne izgubim. Vreme provedeno u izolaciji ne koristim za observaciju, introspekciju, niti razmišljam od čega sam se sklonio, ali osećam da mi mir prija i da je to možda poslednji period u čitavom mom životu kada ću zaista iskusiti snagu zrele prirode, moć koja se na tim mestima akumulira, i potencijalno prevazići sopstvene traume. Rad „Pisma sa planine“ nastaje u formi knjige umetnika od 24 nezavisna komada. Ovo je beleška intimne promene koja se desila usled svesnog izlaganja isprva potpuno neprimerenim uslovima života, a pretvorena je u simbiozu duhovnog i telesnog sa okolinom u kojoj sam se našao. Rad ne ispituje već beleži predele koji akumuliraju energiju života roz istoriju i vreme kojim mi ne možemo da ovladamo. Putem ovog projekta aludiram na 24 časa koja su nam dostupna tokom dana a od kojih osam provodimo nesvesno. Ova intimna beleška svoju punu snagu doživljava tokom direktne interakcije sa posmatračem- otvaranjem svake knjige ponaosob posmatrač je pozvan da iskusi transformaciju pejzaža kao direktne metafore za transformaciju čovekove psihe usled različitih okolnosti. Komadi poseduju taktilne kvalitete koji su iskorišćeni za maksimalni transfer uticaja prirode sa mesta na kome se događaj „obavio“ u prostor rada u koji publika zalazi. //// Letters from the mountain, artist's book, 24 pieces, 17.5 x 21 x 18 cm, reliefs on paper, 2016- 2017. https://www.behance.net/gallery/79051181/Letters-from-the-mountain During July 2016. I left Belgrade for twenty-one days. I went to the mountain of Prokletije and in a randomly selected local house rented a room, food and a bathroom for a period of less than three weeks. The locals pointed me to the forest roads and inevitable areas that must be seen. I spent most of this time deep in the woods, I had a compass, a blanket, some food and a low resolution camera. During this period I returned to the rented accommodation three times, each time leaving it in a different direction, always opposite to one I arrived at randomly selected destination. I tried not to return to my original origin in thought, refusing deeper conversations on why I am here and what I do. I recorded places, landscapes, plants and scenes. I randomly select the scenes, and I do not intended to sort them or turn them into work. At the time of their emergence, they were a reminder of where I was, a map of movement, so that I could go back and not be lost. I didn’t use the time spent in isolation for observation, introspection, nor do I think of what I have done, but I felt that peace is nice and that this may be the last period of my entire life when I really experience the power of a mature nature, the power that is in those places accumulates, and potentially overcome my own traumas. The work "Letters from the Mountain" is created in the form of an artist book of 24 independent pieces. This is a note of the intimate change that occurred through conscious exposure at the firstly unfavorable living conditions, and it has been transformed into the symbiosis of the spiritual and physical with the environment in which I put myself. The work does not examine it but records the areas that accumulate the energy of life in the rosy history and the time that we can not conquer. Through this project, I am alluring for 24 hours that are available to us during the day, and of which eight are unconscious. This intimate note experiences it’s full power during direct interaction with the observer - the opening of each book, the individual observer is called upon to experience landscape transformation as a direct metaphor for the transformation of the human psyche due to various circumstances. The pieces have tactile qualities that are used to maximize the transfer of the influence of nature from the place where the event "took place" in the work area in which the audience sets.

Hazarski rečnik / Hazzars dictionary
Hazarski rečnik višemedijski projekat, 2015-2018. https://www.behance.net/gallery/79051819/Hazzars-dictionary Izveden kroz medij crteža, grafike, slike, kolaža a objedinjen u formi zidnih instalacija i knjiga umetnika, projekat „Hazarski rečnik“ preuzima formalne i idejne osnove kapitalnog Pavićevog romana, ali menja namenu fizičke predstave umetničkog dela. Projekat nastaje na ideji brisanja Hazarskog naroda, koji se prema Paviću pripaja jednoj od tri svetske religije.Radovi asocijativnog narativa sugerišu kulturna svojstava nacije dok utopijski prikazi dehumanizovanih prostora koji ostaju nakon što sa njih bude obrisano ljudsko prisustvo integrušu posmatrača unutar sebe. U svom idejnom i motivsom kontekstu radovi iz projekta objedinjuju različite faze iz nekoliko prethodnih godina rada u različitim analognim medijima. Referišem na sopstveni rad-vizuelno, dok se idejno oslanjam na tuđi, pisani rad, i sopstveno iskustvo, tj. poziciju. Različiti prikazi pejzažnih promena, atmosferskih i geoloških dešavanja na ovim komadima su direktna metafora potencijalne društvene katastrofe koju kao grupa možemo da izbegnemo. Pitanje identiteta naroda, kulture, jezika, istorije i pisma biva stavljeno na razmatranje u nizu nepreglednih pejzaža koji su formirani kao prikazi scena katastrofe koja je već nekoga zadesila. Iako obnovljena i u nekim prikazima sveža, priroda na ovim radovima ne sugeriše obnovu, lepotu i život, već preteću opasnost brisanja sa linije istorijskih dešavanja zbog tuđih kapitalističkih i političkih ideologija. Nametnute kao jedine, nečije tuđe odluke ostaju nasleđe koje će mnogi pamtiti kao jedino. Za to vreme, društvo se nalazi u konstantnom tretmanu “podređenog” od koga se očekuje da već uređene promene doživi kao vlastiti izbor, ili grešku. /// Hazzars dictionary multimedia project, 2015-2018. https://www.behance.net/gallery/79051819/Hazzars-dictionary Developed through a medium of drawings, graphics, paintings, collages, combined in the form of wall installations and artist's books, the Hazzars dictionary project takes over the formal and conceptual basics of capital Pavić's novel, but changes the purpose of the physical performance of the artwork. The project is based on the idea of deleting the Hazzars nation, which, according to Pavić, led to supporting one of the three global religions. Releasing works of figuration and actions, defining the cultural properties of the nation, and utopian depictions of dehumanised spaces that remain after their human presence has been erased. In its conceptual and motive context, the works from the project combine different phases from several previous years of work in various analogue media. I refer to my own work-visually, while ideally relying on someone else's, written work, and my own experience, i.e. position. Various depictions of landscape changes, atmospheric and geological events on these pieces are a direct metaphor for a potential social disaster that we can avoid as a group. The question of the identity of people, culture, language, history and scripts has been put into consideration in a series of non-transparent landscapes that have been formed as depictions of a catastrophe scene that has already been hit by someone. Although restored and in some respects fresh, the nature of these works does not suggest reconstruction, beauty and life, but will endanger the danger of deleting from the line of historical events due to other capitalist and political ideologies. Imminent as the only one, someone else's decisions remain heritage that many will remember as the only one. During this time, the society is in the constant treatment of the "subordinate" who is expected to experience the changes already made as a choice or mistake.

Utopija 10 x 100 / Utopia 10 x 100
Utopija, projekat 10 x 100 umetničkih knjiga, u toku, 2019-… https://www.behance.net/gallery/79051975/Utopia-10-x-100 Ciklus umetničkih knjiga u tehnici linoreza nastaje kao reakcija na galerijske i druge institucionalne prakse ophođenja, neznanja i neinformisanosti o pojedinim likovnim medijima. Svoju idejnu bazu projekat vuče u prethodnom radu i potrebi da se realizuju utopijska mesta na papiru. Uz to, iniciran je činjenicom da je kultura sve manje dostupna, a ono što nastaje u medijima masovne proizvodnje odavno je napustilo kliše nekvaliteta kreativnih industrija. Novi modeli produkcije i distiribucije umetničkih radova sve manje zahtevaju ozbiljnu participaciju publike u svojim pojavnim formama. Insistira se na estetizaciji površnih teorija čime svaki ozbiljan pokušaj društvenog delovanja biva skrajnut. “Utopija” kao projekat zalazi u galerijski prostor samo zarad institucionalne distribucije umetničkih objekata. Publika je u prilici da unutar galerije odabere jednu od dvadeset ručno izrađenih umetničkih knjiga u pet različitih tiraža. I tako deset puta. Na slobodno korišćenje, uzimanje, poklon i razmenu daje se 1000 umetničkih objekata, ručno potpisanih uz autorsku potvrdu i pečat da su originalno umetničko delo. Zadatak projekta je da osnaži granične grafičke discipline i da započne formiranje javnih i privatnih biblioteka umetničkih i bibliofilskih izdanja. Ovim putem ukazuje se na nedostata podrške nadležnih kulturnih jedinica za grafiku i vizuelne medije, neinformisanost galerijskih kadrova, nevoljnost da se stupi u saradnju sa mladima i da se jednom bar napusti patern upućivanja poziva za saradnju samo onim umetnicima koje neko preporuči. Pre svega govorimo o riziku, ali i slobodi jednog medija, koji sa razlogom ostaje zaključan samo za pojedine katedre akademskih institucija, a zapravo je najpodložniji slobodnoj razmeni i korišćenju. Baš zbog brzine kojom nastaje i brojke koju može da dosegne u jednom tiražu, medij knjige umetnika pruža mogućnosti lake i brze komunikacije sa publikom, kao i prenosa jasne neverbalne poruke širom planete. /// Utopia, a project of 10 x 100 art books, in progress, 2019- ... https://www.behance.net/gallery/79051975/Utopia-10-x-100 The cycle of art books in the linocut technique arises as a reaction to gallery and other institutional practices of dealing, ignorance and lack of information about individual fine arts disciplines. Itćs designed base is drawn in the previous work and the need to realize utopia places on paper. In addition, it is initiated by the fact that culture is becoming less accessible, and what is created in the mass media has long since left the cliché of the lack of quality of the creative industries. New models of production and distribution of works of art are increasingly demanding serious participation of the audience in their manifest shapes. It is insisted on the aesthetization of superficial theories, whereby any serious attempt at social action had been shorted. "Utopia" as a project goes into the gallery space only for the institutional distribution of art objects. The audience has the opportunity to select one of twenty hand-made art books in five different editions within the gallery. And so on ten times. Free use, taking, giving and exchanging are given to 1000 art objects, hand-signed with author's certificate and stamp that proves they are original artwork. The task of the project is to strengthen critical graphic disciplines and to begin the formation of public and private libraries of artistic and bibliofilic editions. This way points to the lack of support of the competent cultural units for graphics and visual media, the lack of information on gallery staff, the reluctance to engage with young people, and once at least leave the invitation to invite calls for cooperation only to those artists whom someone recommends. First and foremost, we are talking about the risk, but also the freedom of a medium, which for a reason remains locked up only for some departments of academic institutions, and in fact is the most appropriate for free exchange and use. Just because of the speed at which it arises and the numbers it can reach in one edition, the artist's book medium provides the possibility of light and fast communication with the audience, as well as the transmission of a clear non-verbal message across the globe.