Beyond Within
(drawings by Vladimir Lalić in the Chaos Gallery, Belgrade, January 2014)
What sentence is to a story-teller, or verse to a poet, it is the line to a draughtsman. Who has not the sentence, cannot have a story, who has not the verse, cannot have a poem, and a recognizable line is the beginning and the end of each unique drawing. The line in Vladimir Lalić’s drawings has the same function as the capillary in human organism. The dense intertwining of capillary lines sometimes suggests a gruesome, sometimes a grotesque representation, even an inner drama of the contemporary man. Of course, it is not difficult to notice that specific anatomy classes are present in Lalić's drawings; I say „specific“ because in them the hand hurries after the line, endeavouring not to show, as old masters used to do, the perfection and beauty of the functioning of the human body, but, on the contrary – to show the complete inner decomposition and established frantic of inner organs which help us stay alive for a certain time – to indirectly reveal, or, better – diagnose the present, sad state of homo erectus.
Gallery Chaos 2014
All gods and devils that have ever existed ... they are all within us, as possibilities, as wishes, as ways out.
Hermann Hesse, Demian
The disclosure of internal conflicts that compose the complex human nature is the focus of the new series of drawings by the young Belgrade artist Vladimir Lalić. Approaching the visual by duplicating the principles of psychoanalysis, the artist desires to bare and then correctly reassemble the internal self of man. The thematic foundation of Lalić’s expressive drawings with suggestive titles is the portrait, as a symbol of the human character and therefore, as the essential means of recognition in human interactions.
Au-dedans et au-delà 2014.
Mihajlo Pantic, écrivain, essayiste, critique littéraire (traduit par Gorana Cvarkovic)
Au-dedans et au-delà
(Dessins de Vladimir Lalic à la galerie Chaos, Belgrade, Janvier 2014)
Ce qu’est la phrase pour un écrivain, ou le vers pour un poète, c’est le trait pour un artiste dessinateur. Lorsque l’on n’a pas de phrase bien à soi, on n’a pas de récit, lorsqu’on est sans vers, on est sans poésie ; au même titre un trait reconnaissable est le début et l’aboutissement de chaque dessin qui, lui, reste inimitable. La fonction du trait dans les dessins de Vladimir Lalic est comparable à celle d’un vaisseau sanguin fin dans le corps humain. Tel des lits capillaires complexes du réseau sanguin, le réseau dense des traits de l’artiste suggère un spectacle tantôt terrifiant tantôt grotesque ou, à vrai dire, le drame intérieur de l’homme de nos jours.