At the times when overwhelming industry of ”les images” is on the run, where the sterilization of the author’s code (or the neurosis) is one of general imperatives, Vanja Pagar offers the relations in a perfect ”best buy” environmental collection of the end of the millennium. It is a genuine Product, and as an endless source of connotations, at the same time, it is the simplest, too, being something like a solution for everyone. Reconsidering the possibility of modern understanding of relations, the author degrades resolutely the subjectivity of the content.

Yet, he does not do it completely. This is just enough to let something like the ”third” color to emerge from the focus. It is the color that is in the painting everything but itself, exactly as with a natural phenomenon and eternal motive - the horizon, art of nature, but, also a visible customs ramp at the border crossing between human perception and unimaginable infinity surrounding us. There is no choice before the relations. Conceiving the content of his art, the author leads us to an adequate answer: meditating over the relations assume ”his” role of a creator thus making the way towards purified personal aesthetics. Because ”the content that is not”, that is, the thin line between the two colors, as we see it, that offers something like a quality lever, a subtle key for starting those mechanisms of imagination that are jammed with stereotype images. They are sights and views used intentionally by media every day, which we often accept with a confidence difficult to explain. In Pagar’s paintings two visible colors become a unique inseparable relation. This has practically always been the only existing one.

For both the sea and the sky, them set in relation, connote every ”single” relation-color within those natural spaces. It is so even in actual relations: although in our perception they are not of a specific form, it is also wrong, but it seems natural to imagine them as something between two completely separated an autonomous things or beings (or colors).

Everything exists only in relations, and Pagar’s ”universal landscapes” will help us remember that any time when we develop a habit of considering even ourselves to be something more than the relations between the things surrounding us.

Andrija Ankovic, 1999 preface for the catalogue of the exhibition "Relations"


..." and that part of the exhibited paintings inspired by the sea around and the sky over the island of Vis were presented at the Understructures last year, appropriately titled Relations. The Relations are definitely the best part of the exhibition at he Galic Gallery. It is a smaller format cycle composed of relations between two purified horizontally positioned fields.

The works, as we said, were inspired by the relation between the colors of high seas and the sky that change in dependence with the amount of daylight. The idea of taking a motive of an abstract geometric shape (a piece of the sky and sea) and making it more abstract, is intriguing. In this case, namely, the connection with the motive, no matter how much it is simplified, cannot be discussed because the motive of high seas and the sky itself is a little abstract and inaccessible. Pagar’s Relations are meditative contemplation cleaned from the individual approach to such an extent that his part of work dealing with painting resembles room decorating. The surfaces are covered with color completely evenly, without any brush trace, therefore without any subjectivity.

However, if subjectivity is dismissed from the movement, it is not from the color. The relations like orange ”sky” and ”black” sea, point out leaving the motive and moving towards the spheres of spiritual, but subjective associations "...

Sandi Vidulic, "Skriveno je bolje", Slobodna Dalmacija, 29.06.2000 /p.14/

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