LUNA takes its name from the crescent moon, central to the work, around which the painting rotates. Partly obliterated pattern brick work reminds us that nothing is forever, the moon travels in cycles, as does nature, everything is in a constant state of flux.
The inherent geometry alludes to the philosophical debate regarding intelligent design, or the idea of a universal organising principle that underlies life. The female figure to the left ponders the night sky and distant stars, Orion directly above her, in Kundalini form associated with the snake, a primordial symbol, more traditionally connected with the knowledge of good and evil, perhaps translated in contemporary terms as the birth of human consciousness. The black horizontal runs, like DNA, unwind, releasing its knowledge of who we are, from where we originate, and perhaps where we are going, and why. The triangle, associated with the Trinity, springs from the hidden sun, its apex meeting the unwinding helix. In summary, LUNA is in principle metaphysical.
LUNA is painting and part collage: newsprint, a symbol of information and communication, forms the collage aspect of the lower work creating a horizon backdrop for the drawing in oil pastel, raw linen canvas completes the negative space upper horizon. The painting, in black and white acrylic. Acrylic transfer print technique is used over the newsprint and forms part of the upper painting, as well as poured and dripped paint in conjunction with traditional brush work. Combining collage, print, drawing, traditional and obliterative painting.
LUNA combines graffiti influences with constructivism, anarchic drips and runs, the texture of peeling bill board posters layered with familiar forms of mid twentieth century fine art. LUNA is a work of reconciling contrasts, black and white, dark and light, space and cover, control and controlled chaos, pattern and anti-pattern, geometric construction and deconstruction, form and formless.
Vesna Milinkovic is a British abstract painter. Drawing and painting since the mid 1980’s, Milinkovic shifted focus to abstract painting and collage in 1999. Exhibitions include the Royal Academy Summer Exhibition, The Other Art Fair London and Bristol, The Great North Art Show, selling works in the UK and USA.
Five years of formal study in Design and a further two years in Philosophy, Milinkovic has worked as a Creative Director in recent years, making the transition to full time painting in December 2015.
Tending toward the expressive, Milinkovic utilizes gestural mark-making with calligraphic undertones, influenced by the oriental arts and graffiti. When considering the geometric composition and form, experimentation with textural layering is a critical part of the process, at once spontaneous and architectural. Texture varies from obligatory brush work to watermark and print impression, scribble, fragmenting paint and the hammer of obliteration. Spontaneity and the element of chance are the practice, allowing for bold leaps in aesthetic direction. An oscillating tension exists between structure and fluidity, mirroring the push-pull of ordinary existence while contemplating the existential.