Excerpt from a review/
STOLICE (Chairs)

Vladimir Končar ingeniously collected twenty of his paintings on paper under the title Chairs. More or less recognizable, partially or completely present, a chair is the common motive of all these paintings. On some of the paintings the chair, as a painted object, is completely omitted. But even then it is still present in the mind of the observer, due to the transparency of the author's concept of the exhibition. This way, each of the painting exhibits a dual nature. On the one hand, they are independent, self-sufficient works of art, and on the other hand, they are segments that supplement their meaning by inter-connecting.

The meaning which is given to a chair is compliant with its compositional significance. It is the only indication of spatiality in the paintings, and at the same time the means of the composition. Its legs, back, or seat solidify the invisible compositional lines, and the objects placed on the more or less visible chair - vases with flowers, sculls, or human figures - receive their formal support. Along with that, unlike the unobtrusive chairs, V. Končar treats these objects in a marked colouristic manner. Following the lead of the neo-expressionist tendencies, their material border decomposes under layers of colour, and human figures disappear in colouristic streams.

Irena Bekić, art critic

CONCILIATION OF AMBIVALENCE

Liveliness and vivacity are the basic impulses which, gushing out from all the works, represent the joy of creation of this young author. Although categorization and grouping are extremely ungrateful methods of approaching a work of art, especially in the case of a smaller opus, in this case the division of works exhibited is obtrusive, first of all regarding the techniques in which they were created, while the manner of observing and forming of motives (whose number is deliberately limited) acts as a cohesive for all exhibited works, manifesting a great progress in the search for an expression of one's own "artisticity" as conscientiously as possible.

Following the tentative division, the first group would consist of achromatic works in which, by sharp contrasts of white (paint and background) and black acrylic paint in shiny thick layers, this black-white juxtaposition further intensifies the vivacity of flowers immersed in the white transparency of water. The same motive is treated in pastels, where the function of artistic emphasis is taken over by warm colours. Works created in combined techniques are the most complex and most burdened with meaning: the colours mostly have the same function as in the above works, where yellow and read are carriers of the fluidity of movement and/or the desire to resurrect the motives which are here observed from different points of view, yet again emphasized by the layers of the black "eye", not only observed but also observing, the painter's eye which sees, but also creates new, fluttery worlds and animates them even in the seemingly peaceful relation of planes, in the middle of which the seemingly still nature pulsates like a heart and metamorphoses into the warmth of a human body, I presume again not coincidentally, a female one.

But the ambivalences are still not annulled: the chairs from the title, by losing their backs and becoming fragile bases, do not symbolize a place of rest and relaxation, but close the circle by being active focuses of artistic creation.

Slađan Lipovec