Beyond Within

This revealing and carving of the human body, without any intention to re-establish a harmony in the end – because there is no truth in harmony – make his drawings, with sporadic traces of former searches, much more, and mostly, analytical, and in a lesser sense, narrative paintings. In a story, in a poem and the visual act that pretend to be good, to be meaningful and finally, to be art, the essence is never on the surface, but inside and deeper, and therefore the statement offered by Vladimir Lalić in his version of post-apocalyptically tinted anatomy classes with clear allegorical results, is only the beginning of the comprehension of our experience of his drawings. They do not only want to provoke an incident in our field of vision and make us feel that before them we are constantly in front of a mirror or under a scanner and that, perhaps, or maybe really, we are looking at ourselves confronted with the truth of how far we have come as beings and in what environment we find ourselves – they certainly have a hidden and therefore even more complex, enigmatic reason: Lalić’s drawings materialise with the line coming directly from the subconscious or from a reality worse than the more nightmarish dreams, the non-verbal, purely painterly, archetypal contents of the collective and individual unconscious.
Mihajlo Pantić

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