Nebojša Adamović’s paintings are made on the basis of the photographs of congresses and parties, but by cutting and specific framing they are removed from the initial context, however not quite: they are left with enough so we can sense the presence of other people and have a feeling that the action is happening in some physical space, although it is not defined enough. Adamović manages to create the atmosphere of crowd and throng, but he consciously and very manifestly avoids to show faces and glances, which emphasizes the lack of communication of the people depicted in the painting and as well as the lack of connection with the observer. Hereby, he is making the scenes more intimate and putting the observer in the position of a voyeur. Specific framing and bringing down colour to black and white provide the paintings with the aesthetics of film noir, which is additionally underlining the dramatic and scenic atmosphere.
The objects and figures are shown in fragments, so that the space that surrounds and is in between them, is defining them more than themselves, as the silence in between notes actively participates in the creation of music. That negative space, which is not made by solid elements, but is forged in the viewer’s imagination through the relation of form and non-form, presents a source of possibilities that are to be realised. The observer’s view naturally goes across the painting and tries to find a base – an object or an action on which it can rely, but thanks to the chosen frame, it fails and is slipping into vagueness. The frame cuts emphasize that we are given only a partial insight into the action taking place in the painting, while some of the displays are almost abstract, which can cause observer’s discomfort. Adamović uses the initial vagueness and inscrutability to try to lead the observers into actively participating in building the spaces around the painting as well as creating the worlds taking place in the painting.