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Backyard play on the wall (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 41.7in, 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
The wall in the foreground presented a visual blankness—an empty canvas within the painting itself. Rather than leave it inert, I treated it as an opportunity to engage with abstraction. Inspired by the flowing patterns of fluid dynamics, I let the brush move intuitively across the surface, creating swirling, wave-like forms that suggest motion and invisible forces at play. Yet, despite this gestural freedom, I remained attentive to the illusion of flatness. I employed optical blending—a hallmark of the pointillist and post-impressionist tradition, particularly the innovations of Georges Seurat—using small, deliberate touches of color. These strokes do not model the wall in three dimensions, but instead allow the viewer’s eye to merge them into a continuous, balanced surface, preserving the planar integrity of the wall.
Below this visual play is a much more grounded and naturalistic moment: the snow-covered ground in the early stages of thaw. Here, the painting becomes more observational, even photographic in sensibility. Patches of earth and blades of grass begin to break through the melting snow, revealing the subtle topography and textures beneath. This phase of snowmelt is fleeting and oddly beautiful—a visual metaphor for transition, emergence, and the quiet persistence of life beneath stillness.
Altogether, the painting is a meditation on the coexistence of the real and the abstract, the ephemeral and the permanent. It documents a literal backyard, yes, but also becomes a layered psychological space—where memory, observation, and invention meet. Each element—the blue air of evening, the warm light of human presence, the abstracted wall, and the thawing ground—contributes to a sense of atmosphere that is at once intimate and expansive."
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
