Critics - Danilo Vuksanovic

Georg Redzek has been creating his pictorial world disregarding fashionable manifestations of contemporary art practices. This author refers his ideas of poisonous and perverted vision of man of today, constantly reinterpreting and continuing the last ciclus complemented with art works of recognizable coloristic and factural value.

If we reminisce of his figural abudance as well as simbology ceased from the tube squized out by colorful lines we will see that Georg Redzek does not give up from himself and his artistic credo. Persistence of pictoral thought led him to the spotlight of the world art stage where he achieved recognition of famous art corporation.

During his influence the extraordinary sensibility in multiple expressions, in the experience of perceived and thought out. Pictoral allegories in Redzek work are situated in the field of swarm profile, in which everything is bustling from meaning, mutual pictoral relations, as well as materialistic pigments under the wing of gesture and action. The frame of this process to invent its origin in alechemy retortas and hallucinogenic visions left to set up riddles.

Certainly, it is reffered to Bosch unearthly notions whose traces in recent times we recognize in recent times in Redzek’s paintings associative expressionism and hidden meanings. Elements he uses during composition of his paintings are not banaly offered caused by the facts that are telling about the primitive society of media vulgarity that we are all exposed to.

Set up as unapperent critic of conteporary society, the symbols of the Redzeks present and universal sunken values are being stripped in front of the viewer by the modern painting method.

Keyboards, creatures, conspirators, protagonists of Christian events, are all housed in coloristic use, in indications of texture palimpsest. For such endeavors in his painters’ work it is good to seek different meanings in search for the truth of artistic language that constantly arouses us”

Danilo Vuksanović, october 2020.