Although there is a need for exploring the most diverse content and form, the return to the human figure as a motive represents the inevitable outcome and essence of this interest. Visible manifestations of the body and human form and skin, as well as internal events transcending the transfiguration, appear to reflect on the essential and driving forces in the human body. The base of the concept consists of a static state, from one side and constant movement of the body on the other. The diversity of used media affects the ultimate outcome and the appearance of each work separately; from the immediate visual modes of expression such as free-hand drawings and lines, over photography and video to indirect ones such as 3D digital graphics, video composites, and 3D animation. In this exhibition space, three different segments have been presented.

"The Study"; is static, so-called T-pose, which is characteristic of a 3D application that precedes the movement and displays the body in its basic state of inaction. The same body repeats multiply and recycles in a certain way. The "First Study", which is at the same time the basis, is further elaborated by adding other elements, creating a new image in a series, producing a repetitive circle of the process consisting of the following procedures: photography > digital intervention > print > manual intervention > photography > digital intervention, etc.




Video projection, 2018/2023

About the Study; Didier Samson

Participating in the cycle Between the visible and the interior, the appearance and the transient. The body, the very title of this opus recognizes the essential link between experimental video and plasticity: this human body in T pose saturating the field before being carried away in a series of duplications and opening up to its multiplicities interior and exterior, evokes the Vitruvian Man, this drawing by Leonardo da Vinci which makes a human body inscribed in a circle and a square the emblematic figure of Humanism. The human figure of the Serbian artist Nenad Nedeljkov has neither head nor sex: heads only appear once, just as a body crosses the field, ghostly and wandering. It opens, however, to a double game, to a double multiplicity: that of overexposures, pixelizations, and colored variations thanks to which an enigmatic richness is exposed. The screens are duplicated in the same way, taking us into the game of these transformations of the visible. 
The sight of these bodies is thus combined with that of their volume, in the sight of the clothes that cover them. It is also carried away by movements that evoke the infra-life that inhabits it, is its inner rhyme exteriorized by follicular movements or games with the informal. This induces the thought that there are other scales to measure life, to poetically suggest its springs, motives, and internal and/or external drifts. This ballet of static shots traversed by in(fra)visible forms, fields of photons, variations of the film sometimes take on color, comes alive with vibrations, foreign pulsations. Thus poetically the human body is inhabited: if it is still the primary object of our gaze, it decenters, deterritorializes, and opens up to the multiplicities that inhabit or haunt it.






Nedeljkov Study01Nedeljkov Study02Nedeljkov Study03 

Combined technique on paper, 130x100cm each, 2018/2023