Alexander Creutz & Milan Hrnjazović
My artistry is founded in the pursuit of what happens when you close the door to the outer world and start to look for the different things you normally can’t see. My paintings should be seen as snapshots from peoples personal lives, moments from the reality we usually hide deep down under our wellpolished surface.
In one of my most recent series of paintings, I have chosen to portrait the feet of my friends. The reason behind the paintings is my opinion that body parts that’s not normally displayed creates an openness for the viewer, and by that a more honest image of the depicted person – without the preconceived thoughts we usually get from reading a persons face.
We are so used to always see faces, both IRL and in social media – to read faces, meet people, see selfies and other forms of self-portraits. As an artist, to always be exposed to faces in various ways, this can enhance the difficulty of truly portrait a face and all the emotions that it conveys. As a result of this, it becomes harder to get a true perception of the individual behind the face.
A pair of feet on the other hand is as unique as a face, but because they are rarely depicted you will get another kind of freedom as an artist to explore them closer and understand who the person behind them really are.
Milan Hrnjazović is mainly a painter. Not long ago he decided to exhibit also his graphic works, which often function as studies for his paintings and thus illustrate the process of work. The artist thinks a lot about social problems and conflicts and occasionally he writes essays on these topics. Those texts also serve as an inspiration for his pictures.
The centre of Milan Hrnjazović’s work is female. „Fräulein“, Mother and Femme Fatale expose themselves in front of the beholder and show their vulnerability, love, despair, ecstasy, tenderness and cruelty. These nudes are by no means an unconditional celebration of femininity and female sexuality. The artist pierces the surfaces of society and the contemporary ways of relationships. He visualises the drama and cruelty behind shiny illusions. This view behind the pretty scene resulted in the concept and name of the exhibition: „Fräulein? “.
The paintings on Mother and Child show on the one hand the initial one-to-one: female body parts, eggs and embryos formally melt into each other. On the other hand the artist relates to the stereotype of motherhood in Christian tradition – to Madonna and Christ. Their painful separation is inevitable.
The paintings depicting relationships between men and women show the most turbulent formal language.
The series Together yet apart is inhibited by male and female anatomies, whirling into nude- and flesh-coloured swirls, symbolising the physical connection. The faces of this men and women contrast this union and tell about the loneliness of many people in modern relationships.
Milan Hrnjazović displays today’s relationships in a critical way – but without moralising and by speaking through an aesthetically very fascinating and profound figurative language.
Karin Hafner, art historian