Devil in the Village 1986

Editor: Here we have Boris Bućan’s 1986 poster, "Devil in the Village." The artwork seems to be fighting the figure with a swirling configuration of red and orange lines, which creates a rather aggressive effect. How do you see this work, thinking about its structure and material qualities? Curator: I see a carefully constructed tension achieved through layering. Observe the chromatic intensity; the restricted palette amplifies the visual impact. Note how Bućan uses line not only to depict the figure of the devil, but also as a disruptive, energetic force that challenges our perception of depth and space. Editor: That makes sense. So, you’re less focused on the devil as a symbol, and more on the lines and colours? Curator: Precisely. Semiotically, the devil *could* signify chaos, which is visibly articulated in this work. But it is primarily through formal qualities – colour harmony, rhythmic lines and spatial interplay – that Bućan communicates. Notice also how the sharp angles contrast with the figure's organic, almost grotesque form, creating an aesthetic disjunction. Editor: It is such a powerful piece, it seems like the conflicting formal relations are what generate the visual chaos. Curator: Precisely! This close formal engagement can reveal a surprising depth. Do you find the artist successfully delivers a balance, despite its subject and tension? Editor: Now I see it. I came into it expecting obvious, more on-the-nose meaning of the devil. But you’ve helped me understand it's more about the push and pull of the composition itself. Curator: Yes. Close viewing empowers us to see beyond simplistic interpretations. The poster uses colour, composition and space to reveal far more.