My initial paintings took months, even years to complete using the smallest of brushes and even toothpicks for minute detail. My recent output has become more prolific.
Like many of my favorite Croatian folk artists, my paintings seem to consist of miniature moments, as though idyllic events and shared lucid dreaming could be frozen in time.
I always work on a flat surface, never an easel, and always one tiny brush stroke or dot at a time.
My art, from its inception, more than 40 years ago, has evolved from painting incredibly tiny figures (sometime hundreds of them) in one painting, to imaginary landscapes and seascapes incorporating dots, thousands or ten of thousands of them to my present style of incorporating pointillism into my naive style. It is both simplistic and extremely complex.
Like many of my favorite Croatian folk artists, my paintings seem to consist of miniature moments, as though idyllic events and shared lucid dreaming could be frozen in time.
I always work on a flat surface, never an easel, and always one tiny brush stroke or dot at a time.
My art, from its inception, more than 40 years ago, has evolved from painting incredibly tiny figures (sometime hundreds of them) in one painting, to imaginary landscapes and seascapes incorporating dots, thousands or ten of thousands of them to my present style of incorporating pointillism into my naive style. It is both simplistic and extremely complex.