Using a combined technique of collaging painted and overspread photocopies of vistas, cars, and figures, he enhanced pastose layers on larger colored surfaces. Often intermixing them with bas-relief white heads of neutral meanings and typical pop-artistic requisites, the artist communicates within a visual multidimensional factography, yet firmly distinct ensembles. He imposes Americanized references of cultural and subcultural documentary, while also incorporating personalities such as Picasso, Velazquez, or Murtić. This organized panopticon is also formed by barriers on the very determined form of the painting, which are extravagantly and pompously described with English names (Naked&Famous, The bull is dead, etc.). The result of all this functions naturally and powerfully, with artistically intriguing aspects and devoid of any over-saturated combinatory imposed effects.
In successful works, the rhythm and asymmetry of oleatic layers with discreetly projected drawings of illusionistically spatialized three-dimensional accents are emphasized. These spontaneously emerge and impact the two-dimensional representation of parallel realities. These painted creations are skillfully preoccupied with an arranged challenge of sound colorism, imbued with a distinctive sense of almost tactile aesthetics.
In an alienated world, autistic and dissatisfied, the exhibition of this young creator exudes optimism, will, and dynamism of ascension. The young man faces the future, captivating and carrying the viewer with a non-aggressive logic of interplay between illusion and allusion, imaginatively recycled growth of pop-artism from another generation and message, transplanted moments that have passed. Is it an homage or an evocation of the atmosphere of a significant direction?
Varzić records, documents, and sometimes playfully toys around, yet he avoids narratives and fictions. He successfully corresponds with the contradictions within which we struggle and act. He is intellectualized and reflective, distancing himself with irony, fencing off his own audacity. Perhaps with it, he constructs a neutral and non-binding escape, if at all possible. A successful exhibition of a young painter who playfully engages the forces of the fluidity of time with absolute autochthonousness, eluding trendy engagements and interminglings.
Street Art – Branko Mrkušić