THE LINE OF IVAN MLADENOVIC
In front of Ivan Mladenovic drawings we presume two possible determinations of his work: According to one mr. Mladenovic’s need for art expression apeared in a dream like a mysterious message of signs of life and by second presumption the message, the “gravitation” testament transferred in melodious lines that link the dreamer to reality. That system of lines seemed to have stopped ones destiny to be deluded in magnetic fields of existence, but, on the other hand, by surrounding those magnetic fields the system forces a rigorous artistic expression whose rules must be respected, as nothing happens accidentally, there are no “accidental” lines…
… Once upon a time the consuls left records of plague and wars, of destructed cities and army victories won by sword. Consul Mladenovic, with his Parisian drawings leaves a symbolic record of the time when the artistic interpretation of man is not innocent, although it is reduced to a place that is not at all diplomatic. Here, in these drawings, movements of soul are connected to movements of gravitation so that classic passage looks as an integral part of a superior metaphoric system. And so, if, for this moment undetermined system, is going to be realized, we will be able to see very soon some paintings as gravitation sound panels where drawing phases will be cancelled by color phases. Because a good drawing always brings and confirms spiritual objectivity of the painting, we want to say that Mr. Mladenovic’s paintings are messengers of mysterious ones that will come as a logical consequence of troubled connection between soul and movement in drawing, with reference to painting. This process will certainly happen without any theoretical plan but, once again it will be tested in it the sumptuous reality of dream (drawing) and sumptuous rules of sober reality (paintings). The bill, of course will pay Mr. Mladenovic, but the one that manages to reconcile esthetic norm with art and accept drawing (in his future works) as a poetically-pictorial confirmation of a painting.
Mr. Jezdimir Radenovic,
literature and art critic,
Paris, may 1991