By Dejan Djoric
DRAWING AS A MAP
Within Nebojsa Bezanic's art of painting, everything starts and ends with a drawing. As one of the best European drawers, he has expanded human anthill with his drawing, and spread it over his own map of the world, which has neither beginning nor end. He includes countless figures in his map of the parallel world, small and big soldiers waging war for him. The painter is like the demiurge, God of one of numerous universes where human is given the significance different from the real one. The artist is no traditional mimos, but the creator of the world, which operates according to its own rules, in agreement with space and fictitious time, which is lived faster and more exciting.
Human garden of Bezanic's chaos has been precisely put in order. Living automatic devices, which Nikola Tesla had written about, were systematically brought to illusory functionality. Comic and dreadful in the same time, they are evidence of antiheroic, fantastic realism, such upright and strong virtual entities, somber and proud beings. They are determined both by axial, vertical organization and by a jagged, branchy, and woody composition. Everything comes from the horizontal in that disintegration and turns back to it again. The painter plays like a child, arranging soldiers whom he sends into the battles known to no one else but himself, or directs his workers into the uproar of construction. He creates hypertoys and projects complex games on
the highest level of illusionism. Bezanic's vertical powers are divided into layers by horizontal zones and cross sections of the happenings. He creates a grid, a foundation for formal, and energy fields of the painting, which was written by Rosalind E. Krauss as well. However, in contrast to the structure of abstract paintings, this kind of grid exceeds exhibits of a schematic and geometrically arranged area. The whole composition behaves as a living system, a revived sequence of events, a generator of ideas, and a circus that fascinates. On such a building site of nihilism, what is confusing is an exceptional accuracy, minuteness and the simultaneity of happenings. Only sections of sight, a part of the process can be noticed and analyzed, while the entirety and a sense of scene keep unrecognized and mysterious, since the entirety is not just a sum of details. Trembling and emitting of energy keep challenging the eye to move up and down, and the mind gradually ascend towards the violet heavens, up to the colour of ancient mysteries, which Father Paul of Florence wrote in his book "Mainstay and Fortress of the Truth".
Gulliver in Lilliput
In Bezanic's high-tech urban ghetto, the beings on the higher level of happenings are naive and dangerous, and in the same time erotic and esoteric. A fairy-tale world where the big is placed into the small, and the small into the big, gives no accurate information. It is hard to determine if the particular figures are Gullivers in Lilliput or giants, people-skyscrapers, since there are no references, which it would be determined. Such pandemonium is both spacious and tight, but certainly overpopulated. A technology fairy tale of the twenty-first century has been conditioned by the paradox of space and time, of the permeation of bird's-eye view, frontal and view from below. Sights from the back have been moving to the foreground and vice versa, so the background becomes the most important.
If the sequence of events within Besanic's Multiverse had been read through and translated into discursive plan, it would have given some sort of a hypertext or metatext, according to Derrida's idea that text is everything. Therefore, painting is everything as well, and in this case, it is a fractal pattern notwithstanding it is figure!. The painter is an explorer of the sense, a mountaineer on the cliffs of the mental. Formally obeying things, the artistic principle by which the accumulation, rubbish pile, and the ground have been becoming the compositional basis, Bezanic brings a matrix of multiplication to paroxysm and negation. Thanks to his extraordinary artistic powers, he succeeds in parodying the paradox itself, thus making irony of both the visual arts concept and the idea of horror vacui. Like a high-tech designer, engineer, or a dandy, he creates multilayered hyperrealistic concept. His artistic jostling, galimatias, combat zone and a marketplace in the same time, are not deprived of humour and charm. Finally, the piece has been appeared, the macabre opus, which is a superior and unique-'Tnodel, completely new in the European art.^
Translated by Vesna Mitrovii! studio32® Translation Services
Being sold from Edric van Vredenburgh Collection catalogue No 585.
Link to Catalogue: