In an age of modern contemporary and highly develped technologies and in the culture of mass media with all of its advantages, its effects and its influence on the development on the visual artistic creation, Risto Antunovic, experincing the same world aims to realise and to nurture a compact, deeply personal and spiritually congruent space for his graphical cycle.

Within the context of his graphical fine arts series there is a dominance of certain productive values of his accummulative experinces which do not undermine his work, but   to the contrary, it becomes the author’s aim, the icononography of the personal and an open vision towards the outside world.

Emotionally driven but with the expression which is confined within the limits of the cooper etching water tint, with a use of a specific graphical technique the author selects the events and chooses the motifs which carry the expression of a deeper and wider meaning.

Antunovic focusses on the marks of time as left on the visible objects (the wheel and the plough as a primal symbol) which derive from the environment of his old Hercegovian homeland, as well as on all other things which move his creativity.

A perfect example:

With a clear basic idea through its development, from a banal world of objects, a new and original one is created.

Constructively confident Antunovic nurtures a kind of stroke that confirms his excellent drawing skills. The purity of the realisation, the feeling for the rhythm, the dark earthy colours with the noticeable sensitivity for the form from its reduction to the basic shape of the object in question, all these stress the confident knowledge of the graphic art technique.

The thirty pieces of work entitled “DABARPOLJE” (DABAR Field) in the “ULUS” Gallery witness the movement of enormous strength contained within Antunovic’s graphic art cycles. Although, widely speaking the exhibition is outside the mainstream following, yet within a postmodern frame work. It is a synthesis of creative achivements in a technique whose might the author stresses out, and whose characteristics he develops further.

Therefore we are not looking only at the passive forms but at the objects with their predisposed traits which dominate the work of Antunovic.

In the direction of a world of true reality and in the function of the desired artistic expression, its beauty, and the highest qualities of a total graphycal work of Rista Antunovic produced during an extremely rich, continual and lasting artistic activity he has followed solely paths characterised by his individuality and a clear recognition. In this world of unification, and of the technological powers of the third millenium, this is an exhibition to which we should bow downin respect.

Jasminka Plavsic Djerkovic