In one of my short films, it's about a man who built himself up for one night, for which I was inspired by a drawing from a comic book, where the little mouse enters the opera and sings an aria all night, and in the morning it is as big as an elephant and it can not go out of the opera door. I am fascinated by all the people who create themselves, so I made a man who throbs, welds, mints all night on a square, and no one knows what he is doing there, while at dawn the first passerby reveals that he made a monument from himself to the city, which shows the direction of movement. The night changes us and eliminates all those unnecessary details we see during the day, cleans everything and focuses, hides all the bad things and shows what is essential and in doing so, the right choice; The night brings us purification. When I was young, I was painting in Paris only at night. However, this is not good for painting, because colors are different and in the morning everything is the way I have not imagined. Nevertheless, the night is a place for love. I think happy people are big fools. I know some painters who are so happy because they think they made that painting we all want to make. Only one general discontent pulls us forward. A happy man has nothing to say. Paradise is a petrified moment of happiness. In fortunate, a man can hardly do serious deeds. Whole human work flows out of need, and in fortunate, there is no need. Only a great dissatisfaction moves people who have talent to great deeds.Painting is not a business, it's thinking. Picasso said: "The picture does not serve for decoration, it's an idea, it's our philosophy." I rest while painting. It is my prayer, some pleasure that helps me spend the hours that stand in front of me in the greatest ecstasy if everything is right. Often in the studio, I stand, watch, I can not move a finger, I do not see what I should do and these are heavy moments. However, when this fantastic moment of absolute contact occurs with someone "invisible" who tells me: "Do it this way, that way..." then it turns out all right.While working I pray and this is my encounter with the Almighty, it is a great satisfaction that I can try to approach him by painting - that's forever my wish.

 

Red is the most attractive color; It's the color of blood, life or love. I think that I will stop painting with these colors and that I will begin to work totally gray things, but the sculptures, human figures in concrete, which will be in the crowds, so I see, after this Podgorica exhibition, my further work. It does not matter how, it matters what you paint. If there is no energy in the painting, no emotion, then this painting does not mean anything to you. We all read in a different way what we see. I would like for people to read my paintings to people like some herbs that heals, that man becomes better, to make it easier and to feel that energy of the painting on himself. I have several of these big series "Wide-Open Hands", and "The Big Step" that is most present in the last ten to fifteen years. Each painter has his own filter and this filter is his signature. Nobody invented a new picture, only a small millimeter in the history of painting was added by people. Leonardo added sfumato, another added light, so nobody invented it from start to finish. For centuries, people painted people in western civilization from Giotto to Bacon, and this is a developmental pathway of painting that Maljević broke up in the tenth year of the twentieth century, saying: "Done! There is nothing more to say, here is a black or white canvas. ", so we continued to paint again. From the twentieth century onwards, I think that it is the richest period of our civilization. The twentieth century brought freedom of the individual, to work and think what we want, not to belong to large groups such as Renaissance or other movements. However, this individualism is now out of power with the New World Order, which does not suit the artist as a subversive personality. They destroy entire nations, women, children, and we look at it speechless because we are totally indoctrinated, so we keep silent and watch them kill us. Wherever they kill some people, we should rise up, because we are all brothers. What is happening today on the planet is absolutely unacceptable. Paris is a city of light, and we artists, like butterflies fly to this incredible light that it has been spreading since the early 19th century. However, it did not bring success to everyone; Modigliani threw himself out of the window unhappy with his position; my two friends hanged themselves in the studio, one Argentine, one South American, dissatisfied, outraged, convinced that he would make a miracle there, yet he did not. Paris is a very difficult city for success. It's not enough to live there so that you can succeed, you should have the fortune that builds on work and contacts. I was very communicative, and from that communication, showing pictures and my work, my signature became visible. When I was young I had three exhibitions in New York and it was a great success. However, this is not a real success, because my paintings are not found in MoMA (Museum of Modern Art in New York), which is my wish.

 

Two groups of painters have moved from these areas to the West. The first group was between the two wars: RistoStijović, Cuca Sokić, Milo Milunović, Marko Čelebonović and a few others who went to live in Paris for two or three years, because Paris was then a true European center and brought that French, European painting on the Balkans. They just rewritten what Brak, Picasso, and Sagal worked, so here began to think in a European way. The other group was Dado Đurić, VladoVeličković and I, who went there and took something that is ours to Paris. Dado brought the Montenegrin climate or "Belgrade School", as they say, which is black and which they did not accept, but they only noticed it and concluded that it is some society that is obsessed with the war. I was not obsessed with war at all, but I loved such bloody, strong pictures.However, it was concluded that there were few painters that brought the spirit of the Balkans. Montenegrins have the greatest painters. PetarLubarda is a huge painter in European proportions. His opus "Slijepiguslar" ( Blind Guslar) and "Velikebitke" (Big Battles) is authentic and remarkable. However, for me, Dado is absolutely greatest painter. Not all paintings, this later onesI did not love, but what he did in the fifties, sixties and seventies, that's very fabulous. There is actually a Montenegrin stone like in Lubarda, only seen in a different way. That dreamy world,fell into one tone, either brown, or a light blue, with Dadois so authentic and so powerful that I was fascinated. UrošTošković was and isan outstanding drawer, but what he did to the fifties isunsurpassable. Filip Filipović is also an outstanding painter, an outstanding lyric abstraction. Caravaggio is so powerful and fascinates me, but Dado delights me. Dado's a miracle!