Zlatko Vicentijevic – Limite of the Shore

(Over)accentuated individuallity of the artist, who belongs to the Eighties by a spirit of his own creative work, set before the critique. In some examples of “an objective access” to the work, however, the formal analyses of the visual contents obtain sufficiently reliable facts and data for a kind of conclusions which are to be a stimulus for an observer’s new perception and comprehension.  

Zlatko Vićentijević is using the visual means of extremly reduced kind and their application is distinctly strict and economic in a plastic stratum. This almost ascetic painting, consisting of exclusively delicate graphic signs on a blank, white basis, is inclined to reach an impression of a wall; and it is an expression of “the intemal landscapes” of the spirit of Vićentijecić, of such “shores” of visual ideas he is loking for and which originate from his peculiar experience of shapes and spaces. Sometimes these paintings could impress at the bound of pre-conscions visual scenes. The rough, plastic surface of his paintings is flexibile for inscription an author’s sign, for application of a personal language of the graphemes which the above established ambiguities are consisted of. This ambivalence could also be read from perception of spaces at his paintings; once they seem as if they originated from the tradition of the Post-ranaissance perspectives; next time as if they were closer to the Pre-Euclidian space, the space of spiritual supremacy characteristic for iconocism to an idea of a specific kind of light which spreads over his paintings. Apart from the usual symbolism of “the golden shine”, easily readable, this light is, in fact, internal; the light which does not come from this, but the other side of a canvas. 

Zlatko Vićentijević obviously considers the artistic work, the paintings in his case, as a space of spiritualized rality which slips to our experience and empiric standards more often then it succumbs to them. The shores,’ the marginal sphere of the spiritual spaces are approached by Vićentijević as a measure, the contents and a goal of painting impulse, as a word and a concept, more then a sentence and a conclusion. This artist leaves the conclusions to be drawn by our individual comprehension and experience, by our abilities to compose and re-compose these fragments or the mosaic visual ideas into entirely differnt semantic situations, and, at the same time, in harmony with our own sensitive predisposition. 

Jovan Despotovic 

Grand Gallery of Cultural center of Novi Sad, Novi Sad, 1990