Karanovic Statement

Karanovic - Statement

Any material which leaves or bears traces can be the material that can be worked with. Painting should always be approached to as an open medium and if the artist wants to achieve the desired aesthetic forms, he must not base them on basic, classic techniques, but on pure experimenting and direct improvisation at the moment of painting. This same approach should be used when it comes to three-dimensional shaping. Any material that can be shaped should be combined with a different material whose structure, texture or graphic element can be utilized.


At the moment of creating an artwork, whose creation requires time, painting and sculpting represent a combination of author’s different experiences. The artist’s mood is different each day and he composes the artwork in such a way that it satisfies the final aesthetic form which is a combination of his emotions from different time periods, and thus the painting itself embodies diverse feelings of the artist. This is the reason why one’s approach to painting should be to paint several paintings simultaneously and to allow one’s feelings to guide how and which painting should be painted at that moment. Same canvases are often repainted several times which enriches the canvas with elements that are controlled in the final stage of painting so as to achieve the desired form. That process of enriching the foundation, whether it be canvas or paper, can take several months until the artist decides that the foundation can be painted on and until he decides that the texture and structure of the canvas satisfies his aesthetic desires. In addition to this, the act of finishing a painting alone is directly connected to the artist’s mental and emotional state. The moment when there is nothing more that is upsetting on the painting urging the artist to make adjustments and when the artist can look at the painting and not feel compelled to make changes because harmony and concord are not achieved, that is the moment when the artist realizes that the painting is completed. The painter should not permit not having control over his work and he should be the one who, at any moment, decides on the aesthetic of the artwork since he must be able to repeat it and he must also control and use as artistic elements some coincidences that cannot be painted but that rather occur (e.g. dripping). This approach to painting is directly influenced by works of artists such as Jackson Pollok, Anselm Kiefer, Yves Klein, Cy Twombly, Jiro Yoshihara and other. The studying of the work of these artists and many other 20th century artists draws much inspiration. The inspiration can be especially found in sculpture, in Christo’s early artworks, as well as Piero Manzoni’s and their concept hidden aesthetics.


The concept encompassing the artist’s entire work represents a detail analysis of contemporary society and places current issues in the domain of public discussion by virtue of allegorical visual form, whether through landscape narrative art or spatial installations.

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