The Force of Constructive Persistence
Stojan’s journey into the realm of caricatures began in primary school, where he first took a pencil not merely to write, but bring life to the art he held within. However, his younger self neither liked drawing itself nor did he really know how to do it. But as he rounded his tenth year, things changed.
“One day at school, I watched an older student sketching a comic-like profile. I was captivated by how his pencil dances across the paper so effortlessly. My young mind was in disbelief that he could create something like that. Up to that point, I'd read comics but always imagined such artistry was reserved for extraordinary talents, from far-off places like America or France. Yet, it was unfolding right in front of me, crafted by someone scarcely older than myself.”
That was the turning point for Stojan, a moment of positive stubbornness: if a fellow student could conjure such magic, why was Stojan any less capable? Despite his mediocre grades in art, he decided to give the world of sketching a try. With each stroke, his confidence swelled, and his drawings got better.
Stojan’s motivation was fueled by the newfound understanding that art was within his grasp, something he had thought was impossible. The catalyst was that older student, oblivious to the fact that Stojan was standing behind his back, observing him. As a matter of fact, this student later became a famed comic artist, collaborating with legends like Quentin Tarantino. Stojan reconnected with him after many years via Facebook, their first encounter since their shared school days.
“That one spark, I believe, could have sent me on a very different path; but instead, it led me here. Confidence began to bloom in me, and I started drawing caricatures for my classmates."Draw the professor,” they would cheer, and I obliged, laughing along. Back then, it was all just a game, until I embraced my calling when I was about 23 or 24 years old.”
Architecture
As Stojan delved deeper into the world of painting, he found himself juggling an equally demanding commitment––his architectural studies at university. The taxing curriculum was no stroll in the park, but Stojan’s passion for painting was an irresistible escape. Mornings would be devoted to lectures and hands-on architectural sessions, and evenings would find him returning home, only to quickly freshen up and surrender himself to the canvas.
“My routine took on a rhythmic monotony––attending classes, coming back home, eating, resting for a bit, and then losing myself to the allure of painting. Often, these sessions would extend into the early hours of the morning. Once my paintings were complete, I would take them to the streets of Belgrade, hoping to find buyers. My artwork was well-received and before long, I was selling my paintings. I had seemingly bypassed the phase most artists endure when attempting to sell their works; my journey had taken flight almost instantly. It was then when I realized that not only did I adore painting, but it also sustained me financially.”
Despite the promising start to his painting career, Stojan forced himself to persist with his architecture degree––a decision that would only make sense half a decade later.
Geometry
Unbeknownst to him, Stojan’s architectural studies were actually shaping his skills as a painter. The precision in perspective and drafting was far superior to any training a conventional art academy could offer.
“There's something unique about the fusion of analytical knowledge acquired from technical faculties with the creative insight nurtured at arts faculties. This quest for a holistic understanding is reminiscent of Middle Age scholars and the Renaissance polymaths who mastered anything from mathematics and astronomy to philosophy and Latin. It resonates with my own strive for universality. The fundamentals of mathematics, especially geometry, permeate everything. I have a sixth sense for individuals who possess an innate understanding of geometry. But having formally studied it, I have a deep appreciation of the harmony of certain relationships and proportions.”
The Alchemy of Art
Around 15 years ago, a scientific study caught Stojan’s eye, concluding that myopia often drives individuals towards visual arts. As a myopic himself, his vision fails to scratch far, but within his mind lies a rich world, a vibrant universe, which he brings to life on canvas for all to see.
“In an alternate universe, I might have been a musician, for I suspect I harbor a talent for it. But music remains an unexplored terrain up to this day. I've never played an instrument. Music just never happened for me.”
Stojan considers himself blessed with financial stability that granted him the luxury to shape his own artistic persona. However, he believes that the balance between personal life and work is crucial. It compels an artist to work harder, better.
“Art and discipline go hand in hand. Freedom, in my perspective, is essential, but a freedom devoid of responsibility is chaos, entropy, a state of randomness. Change is constant in my life, which is reflected in my work. My art serves as a mirror to my emotional states, transforming and evolving with me. I create depending on my emotional state. This suits me best.”
Stojan encourages others to nurture their sensitivity through various artistic expressions. Knowledge and information are certainly beneficial assets, yet an immersion into the world of arts can illuminate even the seemingly unrelated areas, such as business management, making them easier to grasp. It’s almost as if the touch of artistry allows you to tune in to the more subtle, nuanced aspects of any discipline.
The Power in Our Hands: Crafting an Aura of Positivity
Not all Stojan’s paintings are for sale, though. He has kept certain works that hold immense significance to him, standing as landmarks of unexpected self-discoveries. These pieces serve as a reminder of those moments of revelation, which is why Stojan holds them dear.
Ironically, some of his successful creations had to face deliberate destruction. The dark atmosphere and the turbulent ambience of the 90s urged him to create gloomy artworks. They didn’t sell well, although Stojan preserved them for some time as they stood as echoes of their times.
“If I feel gloomy, melancholic, I paint a gloomy picture. With the new millennium, they radiated this dark energy, and I didn’t want them to exist anymore, no matter how good they might have been.”
Later, Stojan changed his mind. He came to believe that an artist’s role should often be to counter the prevailing zeitgeist. In times of prosperity and collective contentment, a painter who sees and feels the world more profoundly should offer a counterpoint, a counterbalance to the general climate. Especially at times when everything seems fine and beautiful.
“Now, with global unrest, filled with dystopias, anxieties, crises, and turmoil, art must dare to swim against the current. The inertia persists, but times have changed. Art needs to carry a profound message, not a superficial one. When you see a beautiful painting or hear a beautiful song, it moves you. Hence, my choice to paint musicians, dancers, artists, and people who read––I aim to reduce negativity.”
Heart, then Mind: From Impulse to Structure
Impulse. Sketchbook. Heart.
In the past, Stojan’s art was an echo of the photographs he worked with. This practice, however, faded away around a decade ago. Now, his creations spring purely from his memory and imagination. Often, Stojan embarks on a blank page of a sketchbook with no idea at all, just letting his hand dance across the page.
“I surrender to my intuition. I begin with geometric shapes, and then my piece gradually takes shape. A hand fits here, a head there, a shoulder in this corner… I draw without obligations. Something comes out, something happens, and I leave it as it is. I recognize it and compose something. What emerges is a result of pure spontaneity, and it stays.”
Reflections. Studies. Mind.
This process then evolves into the creation of studies, although not every sketch gets to this stage. The size of these studies varies and they come with no attachment––many find their way into the trash. However, Stojan doesn’t throw them out immediately; rather, they are revisited later, evaluated, and then either discarded or set aside.
“Inspiration shouldn't be sought after. You don’t chase it; it’s something to be deserved. And when it does find you, it must be utilized then and there. This is a wisdom I’ve only recently come to understand. I’ve learned to seize inspiration when it comes to me, never to postpone it for another day.”
At times, Stojan’s discarded sketches may inspire him again. In such moments, connections are formed, with the heart giving way to the mind. This is when Stojan creates larger studies from the smaller ones, always metamorphosing them in the process. And so, he embarks on the final composition.
”He has no eyes, yet his gaze is palpable”
Stojan makes sure his pictures are never a sensory overload. He omits whatever is unnecessary, yet keeping it sufficient, with enough substance, like a short verse. His art requires active participation from the observer.
“I don’t like narratives that spoon-feed every detail, like in certain movies. Instead, I want the observer to dive into the experience, to think and to feel. Only what is vital, what is impactful, what resonates––that's what should remain. When I sketch a musician, I aim for the notes to come alive.”
Stojan navigates through the medium of geometry, exploiting the 3D effect. A comment on a portrait he once drew stayed with him – ”He has no eyes, yet his gaze is palpable.” This dynamic in Stojan’s work is not only through the lines, the interplay of light/dark, but through the texture itself.
“Art has been my lifeblood for over three decades. When you delve inside, you find all sorts of things. Through my art, I have learned a lot about myself. An intriguing observation is how often it seems like the subjects of portraits are the ones looking at us, rather than us at them.”
More often than not, people purchase Stojan’s because they see a reflection of themselves in them. For Stojan, art is a beacon of solace. Whenever he hears a good song, he feels proud to be human. Through art, he believes, you feel you’re not alone.
From the Cave to the Digital
“Art has its origins; we are the descendants of our ancestors who painted in caves. I believe that no matter how much time changes its course, art remains a constant. Mathematically speaking, the spiral of time appears to contract. Today, three years seem to hold the significance of three centuries past. And so, the pace of change quickens. This acceleration triggers a competition between the young seeking their place and the old clinging to their spots. This is the catalyst for innovation.”
Although the digital realm wasn’t Stojan’s domain, he understood that the novel and innovation always prevailed. For him, it isn't a battle, though, but the natural flow of progress. Stojan holds a deep respect for technology, and always has. But, importantly, he sees his phone, his computer––all the devices as tools at his disposal, and not the other way around.
“Every platform that facilitates artistic expression holds its unique charm. My son Dimitrije and his friend Rastko introduced me to the digital world. I made my debut on SolSea with a collection of NFTs. As an artist who's spent years crafting art by hand, I am convinced that true art transcends the medium––it either exists or it doesn't.”
When Stojan hosted an exhibition on SolSea, the experience mirrored that of a physical gallery or museum. Virtual exhibitions allow visitors to stroll around, return to pieces, and read about the paintings. While Stojan doesn’t necessarily believe that they can ever replace the real world exhibitions, they certainly make a brilliant addition.
“The act of painting is for me, but the art itself is for others”
Art isn’t just a job for Stojan. It’s his true calling, a way of life. He paints for himself, but the art is for others. He wants to share it with the world and let people connect with his work, to feel it, to think about it.
“I look forward to the opportunity for my work to reach people around the world. I have always been curious and continued to learn—from the young, the old, the experienced, the inexperienced. I think that is a key component for any artist.”
Lisa , VR-All-Art , June 2023.
