Twenty Days Or Listening To The Unannounced


In Predrag Todorović’s drawings, overfull with conceptual potential, strong visual intensity and complete system of noticeable sculptural values, shown in the exhibition Twenty Days Or Listening To The Unannounced in Greta gallery, the artist relays to a quiet autonomous speech of only two constituent elements: a two-dimensional surface and a variety of refined, densely woven, concentrated and vibrant clusters of spiral strokes. Using the spatula on the white background, the author applies the painting wax dissolved into mash by medical benzine. Then he puts the dark ink (mostly black one) on the hardened wax surface and with the aid of the sharp technical instrument, extremely intriguing dialogue with the substrate is achieved. The narrow white fields – flashes of will, intention, light... emerge from the substrate after each incision. In the creative freedom of combinations, marbling and choices with no obstacle in preconception - the rhythm of growth of the lapidary track lines and strong energy matrix completely cover the filled substrate format and create the illusion of movement making it potentially expanded to infinity.


The whole cadre–with the exciting adventure of spontaneity and immediacy –rises up gradually with every move made in relation to the whole and with awareness of the whole. The partial relation to any place, detail and fragment here does not exist in any moment. Therefore, the relation to density, coverage and structure is subordinate to the feeling of the substance that everything is made of.

Mono-elements of these drawings - lines - burst up and revitalize in the inexhaustible inspiring procedure of continuous energy circulation, which has neither beginning nor ending, being materialized in various artificial configurations, excluding the idea of ​​illusion and witnessing the absence of reference and symbolic functions.

These achievements are unique in their métier-poetic postulates with special marbling in strokes. Configurations of the lines boil in resoluteness; they act as primordial and constant, solemnly lasting, but also random and momentary.




Each drawing (made within 24 hours) creates the impression of the author's stay in the psychological field (the field of force); the artworks were made in the period of twenty days and every of them reveals the simultaneity of the repeating process, the uniqueness of each individual realization, so we can try to read them as the author's mental image of the landscape, visually dislocated and disintegrated. Numerous sensory information from the author's unconscious pulsations have been sublimated in the peculiar structure and texture.

Therefore, on this occasion, the drawings are preferably read as intuitive - meditative practices creating the author's diary of reactions to the sensations he experienced and absorbed in twenty days - as morphological transcription of some of his inner states and turbulences; the diary of the thoughts sequences of inherent developmental logic, attitudes and moods of restlessness, melancholy, as the auto-referential introspective monologues created in hermetic and illegible pictograms from the author's individual mythology, auto-reflective, contemplative and suggestive displays of the author's sophisticated and authentic sensibility. For the author, it might have been a cathartic and contemplative experience.

However, the dark Todorović’s drawings of unambiguous expression and suggestion are not work of negation, nihilism, dark, dark side of the world - they are, indeed, in pathetic manner of speaking, a creation of vitality, passionate growth and positive energy.




These drawings are primordial mass ("porridge"), "primordial soup" in which each line looks like a flash of intent, substances that well up from anywhere and from which it may occur something apparent like physical, educational, mental, emotional... The cadre space is not a reality, but the expression of potentials, a suggestion of something like phantasm that is drawn from the substance- which has just appeared from the initial uncertainty (black), gradually articulated in the "White Noise" – and is yet to be realized. In this way, the drawings are visual plastic register of moving processes. As the author says, a "random signal" began to articulate from the "White Noise", the background noise of the universe, into the movement with direction, as if some intention appeared. However, something is just set in motion – it swirls, spouts, moves and forms –and it will formulate by itself in self-initiation in something new. Perhaps will this potential initiate and form human thoughts, wishes, emotions and actions and announce this achievement in something formative or recognizable?


Although the drawings are disburdened from all referential content and definitely abandoned from any objectivity, the painter creates dynamic and visually movable compositions full of uncertainty, using multicasting dense, white lines, but these are the compositions of highly metaphorical, personal and tricky meanings. So, these lean configurations are supple for many interpretations, even the literary ones. The drawing does not have any pretension to be a new or modern, therefore, it can be read on different interpretive levels such as a message saying that all the art practice is just a variation of single theme, and like in Knifer’s artwork- the whole procedure of marking time and space using the matter leads to absurdity.

One of the interpretive dimensions of the cycle is a question of perception - what the observer sees is indeed just cracked and inconsistent; he can not perceive it or represent it; the whole is always elusive: it can be only sensed through its apparent manifestations of fragments and flashes.

The cycle can testify about the observer’s floating and scattered consciousness due to the continuous flow of information and the lack of any real strongpoint. We can talk about open work, performing on unfinished work, but also about the mechanism of repetition, processing, serialism and replacement of the logic of relations on the painted surface during the process; about the work as its own pragmatism where the emphasis is shifted from content to process, with the visual language game, with the variables which are set in the visual language game...

We read this drawing cycle as a proof that the sublime alludes a loss of the mental substance in favor of pure visual pleasure, and consequently about visuality released from external references to any social and cultural contexts.


Although these magnificent visual spectacles were created in non-mimetic mood, emancipated from any arbitrary modus and any symbolical- representative dimension, ultimately, they do not manifest an internal question of painting, and they are not separated production from the painter himself, but we can read them as the presence of a strong subject directly involved in the existential sphere of the author’s being; they are just intermediate and secondary echoes of the author's life situation.

This drawing cycle is a proof of remarkable Todorović's creative range reaffirming him as a meticulous connoisseur of drawing skills. This author is constantly looking for new challenges and responds with new expressive possibilities.


text: Ivica Župan
translation: Ivana Gabrić