Vlasta Volcano

"Satin's III" are formats 57 X 50 cm. Typically "Satin" are best viewed as set of two, or more paintings together.
In October 2011 Vlastimir Mikic Volcano, was showing for the first time a series of paintings titled Saten’s. Those were oils on canvas, of pure colours, larger-format ones being 100 x 113.5 cm, and smaller-format ones being 34 x 45 cm and 40 x 45 cm, always containing a wooden element in the lower part, which gave these pictures the look and the status of a specific “object”. At first glance, these pictures appear to be “abstract”: the only and constant motif of the entire cycle is a regularly organised whole composed of a standard number of identical units (most often 5 x 5) in a strict structural arrangement. But the manner of painting these units hides a subtle trap for the viewer: what he/she actually sees is an illusionist projection giving the impression of small protrusions/indentations on the two-dimensional painted surface. On account of this, these pictures evoke possible associations of already seen or potentially existing phenomenal realities, and are therefore representational and “object-like” in their own way… That is why these pictures invariably come in a series, as part of a family of related entities, in a word, “coded pictures”, of which each one in itself is not sufficien to carry the overall meaning of the artist’s intention but assumes its meaning only as an integral part of the entire display within the space.
Prof. Dr Jerko Denegri

In October 2011 Vlastimir Mikic Volcano, was showing for the first time a series of paintings titled Saten’s. Those were oils on canvas, of pure colours, larger-format ones being 100 x 113.5 cm, and smaller-format ones being 34 x 45 cm and 40 x 45 cm, always containing a wooden element in the lower part, which gave these pictures the look and the status of a specific “object”. At first glance, these pictures appear to be “abstract”: the only and constant motif of the entire cycle is a regularly organised whole composed of a standard number of identical units (most often 5 x 5) in a strict structural arrangement. But the manner of painting these units hides a subtle trap for the viewer: what he/she actually sees is an illusionist projection giving the impression of small protrusions/indentations on the two-dimensional painted surface. On account of this, these pictures evoke possible associations of already seen or potentially existing phenomenal realities, and are therefore representational and “object-like” in their own way… That is why these pictures invariably come in a series, as part of a family of related entities, in a word, “coded pictures”, of which each one in itself is not sufficien to carry the overall meaning of the artist’s intention but assumes its meaning only as an integral part of the entire display within the space.

Prof. Dr Jerko Denegri