Judged by the amounts of his works Milos Bojovic is a prolific painter.
But viewed through the prism of formal expression Bojovic’s works are
heterogeneous to the point that some of them are on the edge of being
controversial to each other.
On one side of the created opus, which artist Milos Bojovic realized
through twenty six years of his artistic work as immigrant, sit the per-
fect detailed paintings of everyday scenes from the life of animals as
well as the scenes of “still life”. On the other side are the paintings with
scenes of sadness, or the other ones representing a post-apocalyptic
toppled down civilization in which we live. This last group of paint-
ings anticipate the possibility of an unavoidable disastrous ending of a
utopian project to which mankind devoted itself once it became driven
by its globalist impulse. These paintings connect Milos Bojovic to the
small but important group of contemporary world artists already set in
the folder of art historians as “after the end of World art”.
Bojovic’s creations of the animal’s world, as well as his still life, at
some points excide photography or hyperrealist execution. With these
the artist tends to reconstruct the structure of the real, painted object
into the macro details. He uses his palette in such a manner that he
recreates the texture of bark, skin, fur, fabric… His palette is here a tool
with which he creates the illusion of a third dimension in the painted
detail. His paint is here the sculptural element with which he re-con-
structs the living in order for it to be alive and live on in the paintings.
Bojovic’s genre motives are dominated by sadness, such as the
paintings Friends and Old man. These are executed in sfumato, a tech-
nique of displaced or nonexistent focus by which the artist emphasiz-
es a particular sentiment. Bojovic successfully avoids polemics on the
social moment and immortalizes sadness and blues at a universal level.
The artist then calls for the universal presence of these feelings in the
viewer. He aims to touch and impact the viewer with soul.
Bojovic is a visual story teller and he openly admits it. He summar-
izes his own tractate on painting almost in a slogan by saying, “What
words would do I say it with colours through paintings.” Yet the most
is “said” by the artist in his compositions which are not clear “rewrit-
ings” of reality or nature but are formulations of his thoughts and ex-
periences of the world. The painting Self Portrait, with incensory in
front of yole log, awakes hope. His work Angel states and foresees fear.
Recalling ichnographically the vision of the fresco of the White angel
from Mileseva monastery in Serbia, to which parishers had sent their
prayers through centuries, with soft irony in facing the opposite – the
agitated space of godless masses against the waste peace of the sky an-
gelized by ancient fresco motive – Bojovic points to the only way of
salvation, to the love of God. Similarly but with less drama in telling
the story, Bojovic executes his painting Diversity, in which a fairytale
kind of gathering of emigrants takes place under the lighthouse. This
representation is more of a presentiment than the reality.
Confronting the mentioned artistic models to one another is what
makes inner life of the artist Milos Bojovic. As much as his heterogen-
eousness represents one prevailing model over the other, it also repre-
sents the change of shifts of the artist as a “warrior-veteran” from aes-
thetic combats. He relieves himself while drawing notes through the
scenes of nature, in order not to forget the technique and technological
process of expressing himself, before he heads into a “new battle” –
into the execution of the next painting in which he will again rise up
with result of his spiritual warring. Such is the result with the painting
Bison, in which the animals – whose natural colour is the artist’s fa-
vourite tone – paradoxically goes through an artistic change: through
the coloristic scheme of the totem pole native tribes of western Canada
on one side, and the vangogian formulation of almost cubist masses.
We accept these bison as more alive than the real bison of the prairie.
With this painting the artist commemorates about sixty five million
bison killed by white hunters on this continent in only 150 years. The
artist saw the sad images of the slaughtered animals and presented
them in a monumental gothic cathedral build of light.
These are the secrets of the artistic approach of Milos Bojovic to a
white canvas. His approach makes his art cross many boundaries.