Bruno 2020

Editor: Here we have "Bruno," an oil painting from 2020 by Dragan Ilić Di Vogo. It's definitely a quirky portrait. The dog looks like he’s gazing at something amazing, and the surreal elements create a playful mood. What strikes you when you look at this? Curator: I'm interested in the material aspects here. Notice how the oil paint is applied—it’s not just about depicting the dog, but also about the visible layering and texture of the medium itself. The 'planets,' the blue square... they feel almost like applied stickers. How does the artist’s choice of these distinct, almost manufactured shapes impact our reading of the subject, the dog 'Bruno'? Editor: So you're focusing on the production process itself and how the artist treats the paint? Curator: Exactly. I see a deliberate blending of traditional portraiture with something…industrial. What’s the dog sitting on? The material itself looks rough, almost like solidified drippings, opposing the smoothly painted planets. Does the choice of materials or their application feel in line or at odds with, say, the subject’s "dogness?" And then, is the painting actually "finished"? Editor: That's a good question! The unfinished aspects, like those drips, do bring up questions of value, and what’s considered "done" in art. Curator: Furthermore, think about consumption: pet portraits are often commissions or gifts, embedded in complex economic relationships and the emotional ties that bind. How does Di Vogo acknowledge—or subvert—these expectations through their use of material and technique? Is it challenging traditional portraiture by focusing on method? Editor: I see your point. The work is less about pure representation and more about revealing the artificiality inherent in the process, challenging our traditional appreciation. Thank you! Curator: My pleasure. Looking at art through the lens of its production always provides interesting insights!