© 2014 by CREATIVE
The stem and the essence of an artist is percuilarity which can never be grasped properly, which is a product of an artist's internal need and his creative impulse and which is often puzzling and mysteious for both the artist himself and the consumers of the works of art. Nevertheless, the wondering along the labyrinth of art is provoking for the author himself as for the observer.
Aleksandar Devic has begun his authochtonous way along that "labyrinth" in 1978 by graduating at the Faculty of Applied Art in Belgrade and by his first independent eghibition in Nis, and wich was marced by successful engaging in the most various branches and fiels of fined Art and applied Art from painting, graphics sculpture, graphic design, computer graphics to TV video clips and web site. More than 15 years of Devic's work were marked by his interest in nwe technologys and thair use in Art, amakeing his the promoter of so coled Computer Art especialy in his working enviroment. Along with the use of computers, a new creative space was opened infront of A. Devic. From the internal contemplation emeged a new excitement shaded with direct exeption of creative impulses, throu spontaneity, intuition but also with a sence of measurement balance and effort to overcome the dependence on habitual conventions. In almost alchemist like play of the origin, building and forming in the sence of spiritusality and chemical engenering Devic create strange world in wich nothing is defined in advance the world wich is static and unchangeable. The three totalities, the first of wich anticipates with cosmic distances and visions of anknowe planets, the second of wich anticipates with human figure and the last one does it with ancient civilisations and architectural totalitys have there logical track and day complement and pervade one onother by following the line of the imaginary and anbeleivebely things. The space presented in its bounless expence, the form constructing by the row of shapes and details wich speaks the language of the futurists and light as a unifying element are the basic postulates of Devic's artistic language.Yet, and observer doesn't observe only the arrangement of object and shapes, there colouring and their suze. The visual impression as a product of this works of art tekes as to the phenomenon of change.
By the demolition of form and its multiplication wich changeis its shape, by the metamorphosic overlapping and saturation, as well as by frequent applied way of composing in wich around teh central axis the left and the rite side of the work of art appier as a reflection in the mirror, I.e. were the point of opservation is shuffled for 180 or 90 deggrees, Aleksandar Devic acquries the simultaneous movement and dinamics grasping and observer in to the whirlwind of certain optic fictions.
Wheather he uses the concrete, real-life sides or from constractid futuristic appliances, Aleksandar Devic creates a visual space of en opcsene reality, his own planetary system as en alternative of the present one and as the product of his own thinking, vision and emotional impulsive.
Milica Todorovic
History of Art and Critic
Aleksandar Devic has begun his authochtonous way along that "labyrinth" in 1978 by graduating at the Faculty of Applied Art in Belgrade and by his first independent eghibition in Nis, and wich was marced by successful engaging in the most various branches and fiels of fined Art and applied Art from painting, graphics sculpture, graphic design, computer graphics to TV video clips and web site. More than 15 years of Devic's work were marked by his interest in nwe technologys and thair use in Art, amakeing his the promoter of so coled Computer Art especialy in his working enviroment. Along with the use of computers, a new creative space was opened infront of A. Devic. From the internal contemplation emeged a new excitement shaded with direct exeption of creative impulses, throu spontaneity, intuition but also with a sence of measurement balance and effort to overcome the dependence on habitual conventions. In almost alchemist like play of the origin, building and forming in the sence of spiritusality and chemical engenering Devic create strange world in wich nothing is defined in advance the world wich is static and unchangeable. The three totalities, the first of wich anticipates with cosmic distances and visions of anknowe planets, the second of wich anticipates with human figure and the last one does it with ancient civilisations and architectural totalitys have there logical track and day complement and pervade one onother by following the line of the imaginary and anbeleivebely things. The space presented in its bounless expence, the form constructing by the row of shapes and details wich speaks the language of the futurists and light as a unifying element are the basic postulates of Devic's artistic language.Yet, and observer doesn't observe only the arrangement of object and shapes, there colouring and their suze. The visual impression as a product of this works of art tekes as to the phenomenon of change.
By the demolition of form and its multiplication wich changeis its shape, by the metamorphosic overlapping and saturation, as well as by frequent applied way of composing in wich around teh central axis the left and the rite side of the work of art appier as a reflection in the mirror, I.e. were the point of opservation is shuffled for 180 or 90 deggrees, Aleksandar Devic acquries the simultaneous movement and dinamics grasping and observer in to the whirlwind of certain optic fictions.
Wheather he uses the concrete, real-life sides or from constractid futuristic appliances, Aleksandar Devic creates a visual space of en opcsene reality, his own planetary system as en alternative of the present one and as the product of his own thinking, vision and emotional impulsive.
Milica Todorovic
History of Art and Critic
|
|
|
|
|
|
|
|
|
A l e k s a n d a r D e v i ć
