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Artist Statement:
Vojkan Morar was born in
Pancevo where he lives even
now. He has been painting
since 1986.He has participated
in collective exhibitions both
at home and abroad. He is a
member of numerous
humanitarian organizations and
art colonies....
Further Information
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Artist Exhibitions:
Independent exhibitions
1990-Gallery “Braca
Stamenkovic” -Belgrade
1991-Gallery”Jovan Popovic”
-Opovo
1991-Gallery”Kuca Djure
Jaksica” -Belgrade
1992-Diplomatic Club
-Belgrade
1993-The city library
-Pancevo
1993-Gallery”Wawavox”
-Berlin
1993-Club”TBC”
-Berlin
1994-Home Museum
-Jagodina
1995-The Gallery of
Serbian-Greek
friendship-Belgrade
1995-The center ...
Further Information
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Artist Galleries:
Independent exhibitions
1990-Gallery “Braca
Stamenkovic” -Belgrade
1991-Gallery”Jovan Popovic”
-Opovo
1991-Gallery”Kuca Djure
Jaksica” -Belgrade
1992-Diplomatic Club
-Belgrade
1993-The city library
-Pancevo
1993-Gallery”Wawavox”
-Berlin
1993-Club”TBC”
-Berlin
1994-Home Museum
-Jagodina
1995-The Gallery of
Serbian-Greek
friendship-Belgrade
1995-The center ...
Further Information
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Collections:
Coming Soon!
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Commissions:
Coming Soon!
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Reviews for Vojkan Morar:
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Does a painting reveal or hide true face of an artist-is it the product of his mental state or emotional impulses, the reflection of his feelings, or simple a mere fantasy and figment of his mind.
Observing the paintings of Morar Vojkan , these are the extract questions we have to ask ourselves . Maybe it is all about Breton’s …pure, mental automatism…the dictatorships of thought in absence of any rational control…
However while painting, Vojkan does not totally exclude all concise, mental directives.
On the contrary, he presents his relationships with the world-relationships veiled with fantasy and mystique. Inspiration for his creative work he obtains from literature, music, mythology, and iconography, while paraphrasing poems, novels, and historical events. In that way we recognize St.Sebastian,Neptune,Christ,Laocon,Gothic cathedrals…
But these do not make up the essence of a painting; these are just some of associating elements in an infinite space. It is actually this space-space as universe –that dominates
On the canvas. And it is also this space that introduces a touch of magic into the composition, creating mysterious and somewhat morbid atmosphere.
Further analysis of Morar’s artistry reveals the following: the center of his interest is man, i.e. people who fit perfectly into that apocalyptic world.
These people are stylistically in complete harmony with the space. There are slender, elongated figures with their arms stretched and rose upward, as if wishing to reach something or fly into that unreal world. Directed towards the heavens, incorporeal, faceless and sexless, they appear out of the ground, treetops, they grow out of the fish wombs, pr are simply hidden within that chaotic expanse.
The particular trait of Morar’s artistic iconography is processions of human figures.
These people actually present his micro world. Tiny, almost invisible to the naked eye, they have been created with filigree-like strokes, and can be seen more clearly only under the magnifying glass. Sometimes these miniature figures compose one larger macro figure (hundreds of small angels make up a big one).
These compositions, at first sight simple, but in actual fact extremely complex, seem very harmonious, although filled with multitude of details. These harmony originals from the very coloring. Reduces to only few colors (one or two) and finally to the monochrome technique, the coloring also gives the spiritual touch to the painting. The play of the light and dark, graduation and color toning, create specific atmosphere perspective.
The structure on Morar’s canvas varies from azure to paste. Namely, at the azure base (completely dissolved pigment), we find forcefully rough strokes that develop into tangible relief. From all this we could draw the conclusion that the key to Morar’s creativity lies in the spontaneous expression of his feelings.
In the same manner as on the canvas, Morar creates his human figures in clay. Recognizable slimness, motion and theme are transferred from canvas into free space. Just like the ones in the paintings, these elongated forms that also aspire towards the sky, seem unreal and expressive. And it is in this expression, symbolism and alienation from the real and earthly, i.e. in the in his magical world and fairy-tale like dream, that he creative power of Vojkan Morar lies.
Jarmila Cendic
Connoisseur of fine arts
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