Painting - Installation (project)


Painter and art critic (AICA)


Upon the expiration of the full cycle of the century and millennium,

an exceptionally firm and crystal clear generic line of true artists-heroines

has emerged. With their boldness, zest and radical conceptual spirit they have

marked this turbulent one-hundred period of time since the pioneer of our modern painting, Nadezda Petrovic: a parallel course could be adjusted with the whole

constellation of our exceptional sculptresses after the 1950’s and artists elated by

the spirit of synthesis in the circle of postmodernism and the so-called “second modernism” in the last decades of this century’s modernity where a strong appearance of

an uncompromising person like Milica Vergot, is somehow naturally completed. She also

possesses a sensitive aesthetic inspiration. The nature of her work is simultaneously pure

and reduced to a certain categorial and minimal level of the formal layer. On the other hand, it is evasive and complex in its ultimate subtlety as in the groups of concretized miniatures that could be the envy of the classic of modern times like the Venezuelan Jesús Rafael Soto. With Milica, the move from the painting to the installation is organic and irrefutable. When she climbs to major sacral themes and symbols, such as the crucifix and cross, she does it violently, ecstatically with a demiurgic feeling. Her ritual

and compacted exhibits have the power of the total impression strengthened by unconventional materials and ultimately delicate combinations of applied wire, tracing paper, dark tableaux painted in informel technique, silver coating effects, blue and warm tone nuances. All this achieves a broad and symphonically started situation that, in the

foreground, emphasizes the idea implemented in one breath where nothing can be added or taken away. This situation superiorly masters the space and its delicate network.