Which ideas creations of your sculptures are based on?
The point is to find new and striking identity in pure sculpturality every time. Or – the idea is to combine forms of various elements into a figurative whole.
How does the process of transforming aircraft parts into a sculpture go?
The process is very difficult, but also very challenging. It’s difficult because of the high technology and specific aerospace industry that requires professional assistance. So, the materials are difficult to handle, so you need a specific approach, and also some tools. Design solutions are also a challenge, since the aircraft’s images have high visibility and aren’t easily neutralized and translated into the art language, a clean abstract figuration.
Is using ready-made elements produced by the airline industry limiting your work, or you see some benefits in it?
It isn’t limiting, but it is highly demanding and requires a certain responsibility to such technological and formal molded parts. The advantage is that they are not available to everyone and they provide a kind of exclusivity in the communication with the audience.
Can this artistic process be called “ready-made”?
No. My sculptures are made of ready-made parts, but they are no longer recognizable and important as such in the final composition.
Is there a metaphor in your works?
No. I do not aspire to metaphors and symbols. I even run away from it in my works. But, sometimes people interpret my work in that way. It is interesting that people see my sculptures in a variety of ways and often they interpret and name the same sculpture differently.
Can your work be understood as a review of the existence of rejected elements?
Yes. Their previous existential function is discarded. They have gone from a functional existence to an aesthetic and artistic existence. So, they have passed through a metaphysical process. When the machine is idealized, that leads to the alienation of man, and I’m trying to bring a spiritual compensation for the origin of this kind of alienation through rearrangement of the mechanical elements in my own artistic style.
Do your sculptures speak some language, a machine language, while emitting sounds when the wind flows past them?
No. My sculptures do not speak the language of machines. They transmit information about their origin and further transformation.
Looking at these several sculptures of your recent work, it can be noted that you process different topics. How do you succeed to find new concepts and to give a new life to the parts of the plane over and over again?
Well, I’m talented.
Are there certain principles to merge the different geometry and to establish connections between them?
There isn’t recipe for imagination. But, there are laws of physics and harmony which, when brought into a stable mess, make things interesting.
Are your sculptures signs in space which tell us something?
They are not signs in space. They are space themselves. My sculptures have their own space dominion, but can be compatible and incorporate into the various and diverse areas. It may be strictly minimalist interiors, the deserts as symbols of emptiness, and various natural exteriors which I have repeatedly exhibited in, such as Resavska pecina and Djavolja varos.
How the sketch is important for your creation process?
There are no sketches. They are born directly in my head and are assembled modularly one on the other. That’s exactly why this procedure prevailed in my work, because there is no draft and previous discussions.
What really fascinates about your sculptures is that they seem to have a usable function, to shoot, speak, or to fly. Do they look a bit like machines which will become the terminators?
It depends on who reads them. Each of my sculptures has freedom and individual expression. They belong just to their world of pure art.
What emotions overwhelm you while coming up with how to fit all these different forms?
Inventing is the intellectual process that takes up a lot of my RAM, and there is no space for emotions left. They occur only when the work is finished, and when I arrive in an emotional relationship with it.
How would you describe your ego (self-concept)?
My personality’s driving force is my ego.
East or west, who would you prefer to offer your sculptures to?
Whoever give me better terms.