Nirnberg / Nuremberg
Nirnberg, 115x150cm ulje na platnu, 2018 Slika Nirnberg prikazuje segment sa suđenja nacistima za najteže ratne zločine i zločine protiv čovečnosti. Suđenje je održano u periodu od 1945-1946, a na slici se nalaze najozloglašeniji nacisti Herman Gering, Rudolf Hes, Joahim fon Ribentrop, Vilhelm Hajtel, Erih Reder i Baldur fon Širah. Ova slika je paralela sa današnjim vremenom jer i dalje postoje suđenja za ratne zločine, a žrtve su ponovo bespomoćni i nevini ljudi širom planete. Ova slika ima za cilj da upozori, da se nije mnogo promenilo, kao i da su zločinci danas daleko perfidniji. Ova slika je takođe kritika današnjeg čoveka, jer u današnjem društvu, licemerje ne poznaje granice. U bogatoj arhivi fotografija i video zapisa, pronalazim crno belu fotografiju koja postaje moj predložak. Lica su blago okrenuta ka poziciji posmatrača, što je suprotno od položaja njihovih tela. To dodatno stvara nelagodnost i utisak da se od posmatrača nešto očekuje. Fokus je takođe na portretima. Nakon što sam ih u celosti oslikao, na redu su intervencije na licima, koje imaju ulogu da prikažu i enterijer a ne samo eksterijer portreta. U tom trenutku se mešaju karakter, tkivo i emocija. Rezultat je adekvatan iskorak u vizuelnom prikazu, kao i slika koja ima nameru da upozori, svedoči i provocir na dijalog. NUREMBERG, 235x150 oiln on canvas 2018. The painting ''Nuremberg'' shows a segment of the Nazi trial for the worst war crimes and crimes against humanity. The trial was held in the period from 1945 to 1946, and in this painting I shoued the moust famous nazis sutch as Herman Gering, Rudolf Hes, Joachim von Ribentrop, Wilhelm Heitel, Erih Reder and Baldur von Shirah. This painting e is parallel with today's time as there are still war crimes trials, and the victims are again helpless and innocent people across the globe. This painting aims to warn that not much has changed and that criminals are far more perfidious today. This painting is also a criticism of today's man, because in today's society hypocrites do not know the boundaries. In a rich archive of photos and videos, I find a black and white photo that becomes my template. The faces are slightly turned to the position of the observer, which is contrary to the position of their bodies. This additionally creates anxiety and the impression that something is expected from the viewer. The focus is also on portraits. After I painted them completely, what I do next are interventions on the faces, which have the role of displaying the interior and not just the exterior of the portrait. At that moment, the character, the tissue, and the emotions are mixed. The result is an adequate visual display, as well as an painting that intends to warn, testify and provoke the dialogue.

Disident / Dissident
Disident, 200x140cm ulje na platnu , 2017 Postoje profesije za koje se školujemo, titule koje stičemo i položaji u društvu za koje se borimo. Za tako nešto možemo unapred biti određeni po rođenju ili po preporuci. Ali, ono što određuje ’’ Disidenta’’ sa tim nema nikakve veze. Totalitarizam i diktatura predhodnih režima rađale su beskurpulozne heroje u običnim ljudima, a njihova hrabrost u najtežim situacijama sačuvala je nadu u čovečanstvo. Ova slika svedoči od takvim ljudima i prikazuje svu težinu takve borbe. Nijedan od na slici prikazanih režima i ideologija nije bio prijatelj umetnosti. To jasno govori o napadu na slobodu! DISSIDENT, 200x140cm oil on canvas 2017 There are certain professions for which we must be educated / the recognition we need to get, and also the positions in the society we are fighting for. In our society, for something like that, we can be determined in advance by birth or by recommendation. But, what makes someone become ’’dissident’’, have nothing to do with it. Totalitarianism and dictatorship of the previous regimes have created unscrupulous heroes from ordinary people, and their courage that was shown in the most difficult situations has preserved the hope in humanity. This painting depicts this struggle between the regime and the individual. None of the depicted regimes and ideologies was good for art. It's an assault on freedom!

Asmodej i Belfegor, Smrtni gresi / Deadly sins
Asmodej i Belfegor, Smrtni Gresi 220x200cm ulje na platnu 2018. Tema smrtnih grehova ima svoje korene u religiji, posebno u hrišćanstvu. Pronašao sam rukopise teologa Ave Justina Ćelijskog, arhimandrita manastira Ćelije . Pre svog monaškog života bio je anti-komunista pisac i filozof. Pisao je o ovoj temi na način na koji niko pre njega nije pisao. Objasnio je svih sedam grehova, ali ne sa religijske tačke gledišta, već kao sociolog. To mi je pomoglo da bolje shvatim sebe i šta činim pogrešno u životu. U centru slike postavljam svoj auto portret. Nisam želeo da to bude smao banalan prikaz, te sam uradio intervencije i na sebi. Dva psa su personifikacija grehova kojima sam ja skon. U Justinovim spisima svi grehovi imaju svoja imena. Pas sa leve strane je Asmodej i predstavlja požudu, drugi pas je Belgefor i predstravlja gordost. Biram pse, zbog simboličkog značenja, jer su nam grehovi verni poput pasa i teško nas napuštaju. Ovakvim prikazom, neutrališem i izuzuzimam sebe i zapravo prikazujem modernog čoveka. DEADLY SINS, 220x200cm oil on cavas 2018 The theme of deadly sins has its roots in religion, especially through christianity. I found old manuscripts of Saint Ave Justin-Ortodox theologian, archimandrite of the Celie monostary. Before his monastary life, he was anti-comunist, a writher and philosopher. He write about this topic in a way no one before him did. He explained all 7 sins, but not from religus point of view, but as a sociologist. This helped me to better understand myself and thing Im doing wrong in life. In the centur of the painthing I put my self-portrait. I did not want this portrait to be banal and obvious so i did interventions on my self.. These two dogs are the personification of those sins that I am inclined to. In Justin's writings, all seven sins have their own names. The first dogon the left is Asmodeus and represents lust, the second dog is Belfegor and represents vanity. For the symbolic meaning, I chose dogs for their loyalty. The sins are also faithful and difficult for us to leave. By this example, I'm neutralizing myself and actually showing a modern man.