Svarozic

Vuk Maksimović's oeuvre is diverse both in its visual form and in the symbolic context that the author creatively introduces into his works of art. Apart from objects that can have practical function and be of use in everyday life, Maksimović 's works also include sculptural representations of various mythological creatures and symbols, which originate from his interest in ethnology and anthropology. In addition to their aesthetic aspect, these works of art, combining wood, metal, stone, warm and cold materials, which are in a way antipodal, also embody various symbolic contexts derived from mythological narratives that the author uses as a framework for the ideas in his artistic expression.

Using techniques of engraving, inlaying, burning and coloristic accentuation which serves to highlight certain details, Maksimović fashions his artefacts in different ways that give them distinctive visual identity. He also inserts ready-made objects in everyday use into his artefacts, turning them into integral parts of the whole, while changing their primary purpose and practical function, whereby they acquire a new aesthetic and artistic value. Characterized by their striking expressiveness, Maksimović's works impose themselves on the environment, stirring up our attention and urging us to contemplate and ponder on the roots of artistic imagination and the creative transposition of the initial ideological impulse, which stems from his interest in the pagan and the archetypal core of the figural form, finding its concrete shape in his particular sculptural expression.

Yggdrasil, Guardian, Horned Owl, Horned Snail, Svarožić, Taurus, Vampire Squirrel, Svarog are just a few of the names of Maksimović’s works aimed at spurring the viewer to become spiritually engaged so as to comprehend his artistic motives. The same purpose is revealed in the Portal, which symbolically represents the entrance to the world of Maksimović's intimate quest and pursuit of atemporal otherworldly realm, which lies beyond rational understanding and sensory experience. In his exploration of mythological narratives, Maksimović also delves into the vegvísir, the Icelandic symbol of protection, better known as runic compass, which is meant to safeguard its bearer and safely lead him to his destination and help him overcome all the obstacles on his way.

Its symbolic connotation can also be understood within the context of the quest for the path of virtue, the right way, finding the spiritual balance within each one of us individually, searching for the light in moments when we face the darkness within ourselves. If we look at Maksimović's works not separately but taken together as parts of a unique whole, we see that his poetics is essentially articulated as such an intimate search for the light, a quest that is immanent to each and every individual striving to illuminate the darkness within themselves. To see the true value of light, one must first recognise the darkness.

Predrag Djidjić, Art Historian

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