Gardens of Manouche

Pavle Jovović


January 19th – 28th

My paintings are made by using by-products of abstraction.
Pavle Jovović

The shown works present combinations of different types of painting expressions. The painting is an object which is created by the means of self-expression. It is the cause of summing up various dispersed expressive potentials of the artist. The process of summing up is led by the attempt to emerge from the ‘cage’ of the previously learned and demonstrate a constantly ‘elusive self’. It is followed by outgrowing and turning inwards. The self, on the other hand, through every methodical mechanism applied to the canvas, proves to be an excess which recreates the painting. The methodical mechanism in this way comes into being as an answer to the ‘elusive self’.
The production process of these paintings can be seen as entering the so-called “gardens of manouche”*. Namely, if we take two symmetrical geometrical objects in blue and red which are then consciously visually manipulated, they give the illusion of a third, objectively inexistent geometrical form which derives from the area of the psyche, we enter the so-called “gardens of manouche”. By repeating this ‘experience’, our impression of a new geometrical structure which connects these two given forms is intensified. This is where the analogy with the optical game of entering the “gardens of manouche” comes in.
These analogies can also be found on different levels. The geometrical shapes which form the “gardens of manouche” comprise a structural infrastructure of complex motives shown on the paintings of the young author. He balances between the refined ‘void’ and the fear of confronting a quality of the void which we can denote as ‘nothing’. Confronted with the whiteness of the canvas, the artist compulsively instigates a method with the aim of controlling the outcome of a once infinite and intrinsic number of potentials. The painting here brings together the undetachable surplus and a methodical mechanism.
To sum it up, the expressive potential of painting represents a building block formed by a compulsive premeditation. It is a reaction to the blank white surface (the infinite potential of personal content) and the constantly elusive ‘self’ (the personal). The painting is subsequently realised only when the denoted white surface comes into contact with the paint which has the role of its ‘filler’.
The specificity of Pavle’s painting is in seeing it as an object which unifies those varied potentials of expression that it innately carries.
Sequences of expression construct the paintings and lead to the following formula:
The process of synthesis (unification) is constant.

*An experiment in perception psychology. As seen in: “Laws of Faith”, by Rüdiger Dahlke

Text: Velimir Popović
Translation: Isidora Krstić
Photo: Živojin Sekulić