Exhibited works testify about exhaustive questioning of relations, compliance and conflict of colours, tones and shades, shapes, spaces and lines. Analytical procedure that breaks down and questions each element of artistic expression, and their mutual relations, intertwines with a kind of constructivism that uses re-establishment of the ratio of dense network of shapes and colours to fill the space between rational thinking and tenuous, almost muffled sensation.
Search for artistic expression and color essence, their systematic and deep break down leads painter to the rationality that as a goal has to see the color from the inside, to penetrate to the level behind the color, which sometimes leaves the painter surprised with the results.
Ćako is the artist that weighs thickness of the layer of paint in the analysis of its structure, conscious that behind that limes there is no artistic world. He does not generalize nor the colours nor the designs, instead he emphasizes their specificity, concreteness and singularity while expressing the general – giving them a touch of universal.
Preoccupation with colour ratio, scanning transitions and shades, focus on their complex multidimensionality – does not imply escape from the material structure and insensitivity to weaving and relief. On the contrary, Ćako’s drawing nerve highlights the lines and relations between shapes that are returned to colours by analytical procedure, however not anymore in the natural environment, but in the ambience of artistic creation. After the break down, colours are not left nor scattered nor composed, instead they fill the artistically complex iconographic indications.
This a process that does not abstract the object and its contours, moreover its approach is sensitive both to texture and structure of matter, even to the coldness of the material object imperfections. Ćako is not running from the fullness of reality, on the contrary awareness of the imperfections of everyday life and confrontation with inconveniences, conflicts and burden of alienation, break down objectivity to the level of crystal, they narrow dominant palette and lead to the unbalanced use of „the warm colour spectrum “.
Breakup of the space and analysis of light effects in constructivist arrangement of figure contours are exclusively in function of artistic expression. Furthermore, the essence of universe, on the micro and macro level, proclaims – relations. Compound artistic procedure can be understood as his attempt to paint relations that are in the essence of everything existing, so the painting of relations can be the key to understanding the exhibited works. Insisting on visual representation of complex crystals of relations is result of artist’s consistency in artistic interpretation of the essence of the world and translation of feelings and rationality in the artistic picture of the world.
Painting of the relations is not placing one object next to another, or what we are experiencing while looking one colour next to another – what we can point a finger at. Painting the complex relation of only two colours demands controlled and measured stepping into a relation of more colours and harmonic line dynamics. Confrontation with the visual relations leads to the verification of the very limit of subject content using magic formula -portrayal of relations.