Venera – Venus 2013

Editor: We're looking at "Venera – Venus" by Dragan Ilić Di Vogo, created in 2013 using oil paint. I’m immediately drawn to the contrast between the realism of the horse and the abstract background. What strikes you about the visual composition? Curator: Indeed, the duality is compelling. Observe the deliberate application of impasto in rendering the horse's form. The artist exploits the materiality of the oil paint to create depth and texture, particularly in the musculature. Contrast this with the wash-like treatment of the background, which seems almost to dissolve into ethereal color fields. What structural relationships do you discern between these elements? Editor: I notice how the circular shape behind the horse echoes the curves of its neck and head, creating a visual harmony, yet the directional markers at the bottom break that circularity, interrupting that flow. Why introduce angular forms to counter curved ones? Curator: Precisely! The introduction of linear forms disrupts the organic flow and establishes a visual tension, furthering that interplay we previously discussed. Consider it a dialectic – a thesis of curvilinear grace opposed by an antithesis of rigid geometry. Further analysis would then explore the synthesis between the two; what are we left with? Editor: An organized but conflicted interplay, suggesting, to me, the pull between idealized beauty and stark reality. The dynamism relies on contrasts in the forms as well as their texture, colour and value. Curator: Precisely. The strategic arrangement of shape, texture and tone contributes to the artwork's overall impact, challenging viewers to interpret that dialogue. Editor: I see that the artist's choices weren't arbitrary; the balance hinges on those deliberate disruptions, adding a new layer of sophistication.