A perfect representation of the reality that surrounds us has always been Milan Hrnjazović’s fascination. However, is the reality that he is trying to represent perfect? In the visions he presents, decadent landscapes merge with interiors in colouristic distortions that belong to the fantastic Baroque visualizations of the world beyond and psychedelic transfiguration.
In his works almost methodical motives persist: Woman, love couple, nature.
As for the artist the idea of the desire to achieve perfection, both in real life and in painting, is an almost utopian category, he imbeds all the raw elements of the reality: emotions, fragility and cruelty – beneath the glossy, glittering layer of his skillfully and impeccably constructed representation – into a highly dramatic whole.
These wholes swirl, twisting characters and subjects, as well as relationships created in that way, as if time, colour and light were inserted into a high gravity zone from which there is no return. And when and if they come out of it, only fragmentary indications will remain that will allow a reading of the previous state.
The world he paints is therefore the world of inner relations and, as such, a mirror of the general reality. That world is in a state of permanent destruction and cataclysm, from which, after the transformation, only the flesh tint* colour is left – as a visual connective tissue, and a carnal link for understanding Hrnjazović’s art.
Somewhere halfway between Gerhard Richter and John Currin, Hrnjazović’s works, attract us by their highly aesthetic expression. Though apparently completely understandable, his paintings are full of hidden details and crypto-messages. Hrnjazović plays with our visual stereotypes and so the eye of an experienced viewer, too, will get into the folds of his paintings with curiosity, without knowing what is waiting for it.