Ozbolt intensively accumulates multi-layered aspects obtained from various fields— his interests, experiences, educations and backgrounds—in his artwork. Social incidents, images taken from media, exotic cultures experienced in travel sites, and contents drawn from an extensive collection of nonfiction books allow him to inject a possibility of new dimensions into a certain space or canvas. Although he does not refuse to look straight at our society and reality where the natural order operates and environmental catastrophes occur, what most stands out in his work is the emergence of eccentric imaginative imageries. In his paintings and sculptures, a variety of animals, objects and human figures nonchalantly exist in an unfamiliar surrounding, taking unforeseeable actions. Ozbolt often adopts unconventional objects such as fashion items, lobsters, BigMac, birds and a pig’s head as subject matter of his still life. Also, he produces unlooked-for outcomes by applying kitschy primary colours onto totem statues. Thus, this somewhat extreme contextural incongruity is a typical signature of Ozbolt’s practice. Although it is reminiscent of several art trends—primitive art, cubism, realism, and surrealism, it demonstrates his original unspecified aesthetic language.
Ozbolt eschews stereotyped or superficial modes of expression; he rejects to follow a common custom or conventions. He rather explores a state of disorder which makes a stark contrast with the intimate course of nature, revealing a sense of alienation and difference manifested by twisting the relationship among characters and objects. His supernatural and fictional universe created from the integration of multiple elements and spaces ultimately functions as a dream or psychedelic hallucinations; it exceeds a mere one-dimensional imagination. Order and chaos paradoxically coexist in his work of art constructed by assembling extraordinary objects and icons. At this point, the artist’s key subject, an aesthetic of incongruity, becomes apparent. Ozbolt’s inordinacy disturbs the ethical order of nature and it triggers confusion. However, his distinct style, grotesque setting, and mismatched yet dynamic format consequently fascinate spectators with solid cogency. In the end, the viewers are naturally able to share the surrealistic sensitivity delivered by Ozbolt.
This exhibition unveils the entire spectrum of Ozbolt’s unique approaches that provoke conflicts through a combination of multiple images, references, scenes and symbols. It is a rare opportunity for the audience to encounter his exclusive artistic outcomes achieved by constant and diverse experiments. Gallery Baton sincerely hopes that viewers would discover Ozbolt’s wit and symbolism conveyed in his new collection of art comprised of sculptures with a spectacular impression of colours and paintings containing copious unexpected features in the exhibition
Djordje Ozbolt studied architecture at Belgrade University and moved to London where he graduated from Chelsea school of Art and Design, Slade School of Fine Art and the Royal Academy. Since he attained wider recognition through several solo exhibitions at Hauser &Wirth, Ozbolt is actively presenting works at international major art institutions such as White Columns in New York, Tate Britain in London and The National Museum of Art in Osaka.