Images from underground/File N°012

 
Nikola Ojdanic is an amazing Serbian artist that impressed me with his works like few people did from the times of Beksinski. In common with Polish painter Ojdanic has surely the alienation of human being and some dark surreal elements. Anyway his works are extremely original and just every single piece is a pearl. You can find more of his works here and enjoy the interview. Special 
 

1. Where are you from?

I`m from Belgrade (Serbia).

2. Do you use any particular tools/materials/methods during the working process?

Yes, of course. In the beginning, it was quite sterile... however in time, the necessities have grown stronger, more pronounced... in accordance with my need to transmit to the observer my conception and the message in the best possible way... and thus, I begun my quest for new materials and methods. Clearly, the basic usual unities are still here to be upgraded and developed through the story... But in any case, nowadays when I stand in front of the canvass or an easel, I feel unspeakable need to realize my ideas in an entirely uncommon way, it has become a rule that pleases me extremely. I`ve built in nets, polystyrene pieces, threads and other stuff, used primers to give it some texture and realistic feel and experience... extreme freedom is found in the realm of digital painting, too.

3. How is your working process?

The process of my work depends on several factors... Always. But I`ll mention one that I consider more interesting than others. And that`s the moment when I need to realize, accomplish something still without being aware what that is... it all sounds at that moment like rewinding the tape... After that first phase, some kind of crystallization happens, some purifying and calming... that`s when I`m excited to use the materials that have appeared in front of me. And only then I construct the real and realistic image that has somehow been begotten backwards and intuitively.

4. What do you think about the art market nowadays?

I think that the art market today has a firm ground and value for perfect functioning. However, I also believe that the actual state of it is far from that... Why? Well, let`s say that on of the main reasons is the fact that we`ve globally allowed in an exceptionally fast and easy manner the money and interest to rule over the artistic values, regardless of all the advantages offered by the modern world... honors to those who have gained their crystal clear piece of sky. 

POSSIBILITIES

5. Do you exhibit your works? how do you place yourself in actual art context?

Yes, of course, I do exhibit. In other words, I do my best to situate my new works at the right time to the right place, which is rather difficult nowadays. Results of that effort of mine are various. But, let me tell you something: when a mom and a dad get a baby, it enjoys love of them both... Likewise, when a new motif sees the daylight for the first time, I try to provide it with mutual love, the love of its author, which is there unconditionally, and the other, but not less important, love of the observer, of the audience... only then it has everything it needs, cause without a public, it might just not exist at all. Concerning my understanding of myself “in actual art context” I can say only this: my complicated inner being does not allow me to deal with mundane, aesthetic or in any other way poor forms... Therefore, I think the nature has given me a responsible position in such a cruel environment, but someone has to hear that too...

6. Is there a common idea that go across all your works?

Constantly. There has been and there will be... I couldn't imagine it any different. Sincerely, I wonder if there is an artist who doesn't feel the same... whose whole creative world isn`t impregnated with at least one thinnest common thread. Basically, two streams have raised in me during the last few years, or two cycles, two wholes, that I can define as some kind of interior and exterior of a modern-day being and its soul... I`m speaking about two cycles: ``Face and reverse`` and ``Possibilities``. The cycle ``Face and reverse`` deals with ``invisible`` contents within the contemporary man... his encounters, thoughts, defenses, distancing, weaknesses... but it`s primarily focused to uncover the essential problems. In the meanwhile, ``Possibilities`` is cruelly about the cynical checking of the stadium of readiness of the contemporary person to deal with all possible and impossible obstacles that are placed in front of him/her... 

POSSIBILITIES