Paintings and drawings
Immediate, pure creativity in current art seems to be more deficient than ever. The great stylistic movements of modernism have imposed obligatory (for the artists) propositions and esthetic canons regardless of whether they were prescribing a formal placement of a plastic layer in the work of art, or, rather, demanding a diverse ideological or poetical project in their semantic layers. In high, serious art under these conditions there was hardly space for the noticeably scarce, non-typical examples of the authors individual artistic worlds who have exclusively remained accountable to their own direct creative intention.
Postmodernism has seriously disturbed this type of modernistic dogmatism and has introduced into it’s pluralism highly diverse personal poetics exclusively answerable to extremely subjective needs, intentions and goals of today’s markedly autonomous and atomic examples of the artistic practice. This radical change in the arts has opened up possibilities which were unimaginable until now in the fine arts creative work as well.
Contemporary artists can look for the substance of their art either in outer incentive or in their personal, intimate worlds initiated by recent or distanced remembrances, or in the actual apprehension, comprehension and stand in relation to their experience of the times in which they are living. Each of these more or less close connections implies very specific plastic contents as well, that is elements of the fine arts language which structure them into a visual sign, symbol or representation.
The paintings and drawings of Goran Kosanovic belong to such a contemporary practice in art. His private, vital world, just like any other, lonely, individual and person-al, is transferred onto the painted scene by it’s scarce contents, signs and symbols. In Kosanovic’s case, fine arts poetics has emerged from the deeper depths of the inti-mate memory which goes back as far as his childhood fantasies. These fairy-tale-like scenes, worlds of primary and unaffected visual perceptions, a direct observation and experience of the outer and the surrounding, have been preserved in his most vivid experience which, like a sudden eruption, has gushed forward spontaneously, strongly and irrepressibly. The exceptional liveliness, convincing quality and directness of these scenes have been preserved thanks to Kosanovic’s manner of drawing and paintihg which is only slightly answerable to the artisan side of this medium, and is above all and primarily turned towards the need to preserve the freshness of those scenes and to proclaim the personal inner poetical life with enthusiasm.
Artistic phenomenon which rely on private rnythologies today comprise a dominant group in recent postmodern pluralism. However, this numerousness does not necessarily have to incorporate (and doesn’t) high value levels in the esthetic sense. Therefore, forthe purpose of comparison and of establishing relations, it isessential to clearly observe, comprehend and interpret just such cases which are highly direct, spontaneous and authentic, in order to form an objective corps of esthetic categories in today’s conditions of surplus artistic production. Amongst those examples, these works of Goran Kosanovic set themselves apart and draw our attention by their marked freshness, creative sense and basis.
Gallery Zvono, Belgrade, 1996