Focusing mainly on face portraiture, Petar Mošić develops a narrative that articulates his own position about the thin boundary between adolescent innocence and brutality. Whether their gaze warns us, whether they generate good or evil, loneliness or indifference, these youthful archetypes generate questions what it means to be a child in the contemporary world. Reminiscent of the altars of Christian Boltansky, the lost children of Gottfried Helnwein or Biljana Đurđević, they exhude radical ambivalence that provokes deep consideration and intimate fears. Whether these children demand their own autonomy and freedom beyond what they were given, or warn us that they are the guardians of the revived extreme political idea whose rules must be obeyed, it is as yet uncertain. But what is clear is that the issues of growning up, raising children and childhood in today’s world demand a fundamentally new perspective.
–– Excerpt from the essay by art historian Vladimir Bjeličić