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Grandmother's room VI (2021) Painting by Fatmir Brezanin
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"Fine-Arts" prints on paper
It is a process of printing on art paper using very high-quality pigment inks and printed in very high definition. Its level of conservation is exceptional (more than 100 years), its quality, depth, and richness of nuances exceeds the classic photo print on Argentic paper.
Glossy finish
Apart from its exceptional thickness, the fiber paper is composed of an alpha-cellulose base without acid and it is covered with barium sulphate, and a microporous layer absorption enhancing pigments during printing. A pure white color, non-yellowing to light, this paper is especially designed for resistance and aging. It is used by major museums worldwide as it offers excellent resolution, rendering deep and dense colors.
Art Print "Fine Art" - Glossy finish on a fiber base paper 325 g.
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About our fine prints-
Original Artwork (One Of A Kind)
Painting,
Oil
on Canvas
- Dimensions Height 39.8in, Width 28in
- Artwork's condition The artwork is in perfect condition
- Framing This artwork is not framed
- Categories Paintings under $5,000 Impressionism Everyday Life
In this particular painting, however, my attention is not solely on the room’s ornate contents but on a visual phenomenon that emerges from its architecture: the window. Unlike in previous works where windows may have appeared in the background or as compositional elements, here the window is the central subject—the conceptual and visual anchor of the painting.
What fascinated me in creating this piece was the complex interplay of light and surface on the glass. Rather than presenting a simple view through the window, the painting captures a partial reflection—a kind of layered visual paradox where the room is reflected on the surface of the window while the outside world remains visible through it. This duality creates an effect reminiscent of a double exposure photograph, where two realities coexist in the same frame. It’s a moment of perceptual ambiguity that invites the viewer to pause and decipher what belongs to the interior and what to the exterior, what is memory and what is presence.
Technically, this was both a challenge and a joy. The reflected elements needed to be suggested delicately, almost like ghostly overlays, while the image seen through the window required clarity and weight. Achieving this effect involved subtle modulations of opacity, color temperature, and edge softness—techniques that blur the boundary between realism and abstraction. The brushwork, while controlled, allows for these visual ambiguities to remain alive, not fully resolved, echoing the way memory and perception interact in lived experience.
In contrast to the gentle, earth-toned palette of the room’s traditional furnishings, I deliberately chose a bolder, more expressive range of colors in this work—tones that depart from strict local color and instead evoke emotional resonance. This decision marks a shift in my approach: a willingness to interpret rather than depict, to use color not only descriptively but symbolically.
Ultimately, this painting is not just a portrait of a space, but a meditation on memory, perception, and the fragile boundary between interior and exterior worlds. The window serves as a metaphor as much as a motif—a transparent surface that holds both reflection and possibility, presence and absence, here and beyond."
Related themes
For my graduation series of works I decided not to philosophize with the selection of motives and themes. I decided to paint intimate moments inside my house in which I was born and still live, and immediate surrounding, as this is what I know and expirience unrelentingly. Analogous to the often heard advice for writters "writte about what you know". If you don't find beauty in your immediate surrounding where you open your eyes in the morning, you will hardly find it anywhere, not in Venice, nor in Paris. Subject matter is close to you. For now, I paint the impression of what is in front of me, very close to me. And going closer and closer I plan to sometime paint what is inside of my mind. Meaning: full abstraction.
My painting, although currently still somewhat traditional and academic, partly because of...well, academic obligations, and partly because of nostalgic forces acting out my initial fascination with classical painting as a young boy, nevertheless contain sparks of my desire to liberate my expression, hints of my uncontrolled idiosyncratic movements. My notebooks are being rapidly filled with observations, logical conclusions, clear and concrete ideas that will stay in my mind as I gradually strip away the unnecessities from my painting and create by free play within and upon the fundamental ideas in the upcoming times.
Unpopular opinion: I think that originality is overvalued nowadays. Although it is a factor, a huge factor, undoubtedly, it's not THE factor. Immanuel Kant observed that nonsense can be original. "Craters allow quantum consciousness to harness misleading dealers of HDMI cables" is a perfectly valid sentence grammatically. Probably no one ever put those words in that order before. Truly original sentence. Nonsense, nevertheless. Dogmatic originality, as an end in itself, seems forced, inhibiting organic instances of original ideas, and neglecting other qualitative factors. Depending on criteria, when low, painting a stick man in the background of the copy of Mona Lisa could be considered original if no one did it before. On the other extreme of the spectrum, painting can not be original if it's oil on canvas. Blood on a goats wool? Now that may be somewhat original. Though an attempt at banalization, I consider it seriously on second thought. Granted, this opinion could very well be a product of a defence mechanism undervaluing my originality deficit. lol I have original ideas... they are just not realized yet haha
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Nationality:
SERBIA
- Date of birth : unknown date
- Artistic domains:
- Groups: Contemporary Serbian Artists
