RESIDENT ARTIST :: Predrag Djordjevic
ARTIST STATEMENT
Predrag Djordjevic
"The use of the stretcher as the surface upon which the painted image appears is unique in my work. For centuries, the stretcher has been the unseen support, used to form the framework behind the canvas. In making use of the stretcher, traditionally the bare bones of the painted image, as the surface of my paintings, I have made the wooden stretcher worthy of our consideration. At the same time I am raising question of the appropriate surface for a painted work.
The images painted on the stretchers are of several sorts. Some of the stretchers are painted with geometric designs. These designs, devised and sewn by women, served both a decorative and a talismanic purpose, the protective function having perhaps the greater significance. In making use of these patterns, I am drawing from my own origins to explore the places where art and magic or personal belief comes together.
Because of invasions and upheavals, these embroidery patterns were the main and portable means of artistic expression for many centuries. In putting these patterns on wood, I am doing more then just paying homage to my female ancestors. I am acknowledging that embroidery designs, once cataloged as among the “minor arts” are, for some people, a major art form. Is also creates a record of the patterns used, even as the original textiles are moldering away.
The second series of stretchers draws inspiration from American 19th century landscape painting. I have been tremendously impressed by such artists as Martin Johnson Heade and John Frederick Kensett, and have made a very conscious effort to imitate the precision of their technique while painting scenes of American highways.
Some of these works include trucks. Like the dinosaurs of the 20th century---coming out of nowhere, threatening destruction by their size alone, and then disappearing into the distance.
Some of the landscape stretchers are hinged, and these are suggestive of reliquaries. In producing these hinged works as well as landscapes on crosses, I see myself as an artist having origins in the East, yet being a part of a larger European tradition. Icons, which were painted on wood, were produced in the East, yet had a profound effect on painting in the West, particularly in Italy. In placing myself within a larger historical context I choose to define myself as a Byzantine residing in the United States."
BIOGRAPHY:
A native of Belgrade Yugoslavia, Predrag Djordjevic studied at the Royal College of Art, in London, England. Locations of Djordjevic’s one man shows have included the Yugoslav Cultural Center (New York, NY), Henry Gallery (Washington D.C.), U.S. Embassy (Belgrade, Yugoslavia), Sabine Hubler Gallery (Weissbaden, Germany) and the University of Scranton (Scranton, PA). Commissions and collections have included placement in the Northeastern Philharmonic, PA, Saks Fifth Avenue, NY, Museum of Solidarity, Montenegro and Penn Security Bank, PA. Selected publications and reviews which Djordjevic has been represented in include the New York Times, New Art Examiner, Vogue, The Philadelphia Inquirer and Politika Daily.
Djordjevic has been an artist in residence at the River East Art Center since fall 2007 where he is represented exclusively by REpose Gallery.
For information about Predrag Djordjevic’s work, please call REpose Gallery: