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MILOMIR JEVTIC born in Valjevo, Serbia (Yugoslavia) on 1/14/1940

Art and science, By Marian Trsar, European Writher

It has been confirmed time and again that an artistic idea profoundly provokes materials to help the idea's most adequate realization. Opposite is also true: the material properties act on a piece of art to bring that artifact into existence. This artist was certainly aware of this mutually beneficial relationship. He attempts to mold his designs into new materials and take advantage of the materials’ potential as instruments of form. Jevtic’s opus is indivisibly linked to the notion ofthe artistic use of newer, “non-sculptural” kind of Materials. The idea that it is possible to use as an expression many different types of motions such as “breathings” of membranes, latex gloves, inflatable volumes, thin elastic foils and objects, inspired Jevtic in creating numerous pieces of visual art. The art that was not possible in traditional materials became possible in the new materials. Moreover, the properties of the new sculptural materials enabled Jevtic with new expressive possibilities and new visual variations of his principal ideas. Different from many types of kinetic objects, Jevtic’s artifact draws the viewer inside the process of this artifact’s coming into existence. Every time a viewer encounters Jevtic’s artifact, the artifact necessitates the viewer’s immediate action who, at her will, creates “breathing and pulsing” plastic forms. The playful and tactile experiences of interacting with Jevtic’s kinetic objects are especially interesting and allow the participant to achieve a most unique relaxation of her emotions and fantasies. In fact, when talking about these pneumatic objects, we refer to repeating cycles, phases and frequencies or intervals – the plastic and precise statements were made only for the initial and final forms of the changeable elastic volumes. All other intermediate states and forms stay undefined in between the two extremes and succumb to the wills and spontaneous movements of the participants. Spontaneity is obvious as the viewer, without any plan, impulsively steps on the pneumatic chambers attached by pipes to the elastic actors of indefatigable tensing, growth, and diminishment. Jevtic offers these elastic air reservoirs as instruments for the participant to generate endless number of shapes. The visual meaning and composition of the shapes would sometime suggest effortless and arrhythmic panting of imaginary creatures; grass and leaves coming to life; matter and tissue dissolving; separated body parts still gasping. Another of his creation styles, The Hydro-plastic, surpasses conventional expressions of plastic forms in both painting and sculptural discourse. Here, the traditional painting method disappears as the artist paints with the mobile pointillist method using a liquid of neo-positivism. Assemblies and contraptions made of webs of Plexiglas tubes contain either monochromatic or colorful liquids that are put in motion by foot-opelleprd or electrical air pumps. The visual sensations of the non-stop moving fluid particles that are uniformly distributed along the whole of the object are partial functions of the chromatic properties, velocities of the movements, and graphical appearances and forms of the enclosing tubes. The moving fluid particles visually entangled with each other leave the viewer with impression of a psychedelic spectrum of colors of an eternal micro universe. The Jevtic’s visual innovation negates the traditional expression of painting. It is fascinating to realize enormous possibilities for relaxation that become obvious to the viewer focusing on the very centers of the pulsating fluidic assemblies. I observed the viewers who would largely become thoroughly enthralled by the illusionary play of the liquid flow. This kind and extent of temporary ‘addiction’ to an artifact is unique in the history of art. materials enabled Jevtic with new expressive possibilities and new visual variations of his principal ideas. Different from many types of kinetic objects, Jevtic’s artifact draws the viewer inside the process of this artifact’s coming into existence. Every time a viewer encounters Jevtic’s artifact, the artifact necessitates the viewer’s immediate action who, at her will, creates “breathing and pulsing” plastic forms. The playful and tactile experiences of interacting with Jevtic’s kinetic objects are especially interesting and allow the participant to achieve a most unique relaxation of her emotions and fantasies. In fact, when talking about these pneumatic objects, we refer to repeating cycles, phases and frequencies or intervals – the plastic and precise statements were made only for the initial and final forms of the changeable elastic volumes. All other intermediate states and forms stay undefined in between the two extremes and succumb to the wills and spontaneous movements of the participants. Spontaneity is obvious as the viewer, without any plan, impulsively steps on the pneumatic chambers attached by pipes to the elastic actors of indefatigable tensing, growth, and diminishment. Jevtic offers these elastic air reservoirs as instruments for the participant to generate endless number of shapes. The visual meaning and composition of the shapes would sometime suggest effortless and arrhythmic panting of imaginary creatures; grass and leaves coming to life; matter and tissue dissolving; separated body parts still gasping. Another of his creation styles, The Hydro-plastic, surpasses conventional expressions of plastic forms in both painting and sculptural discourse. Here, the traditional painting method disappears as the artist paints with the mobile pointillist method using a liquid of neo-positivism. Assemblies and contraptions made of webs of Plexiglas tubes contain either monochromatic or colorful liquids that are put in motion by foot-opelleprd or electrical air pumps. The visual sensations of the non-stop moving fluid particles that are uniformly distributed along the whole of the object are partial functions of the chromatic properties, velocities of the movements, and graphical appearances and forms of the enclosing tubes. The moving fluid particles visually entangled with each other leave the viewer with impression of a psychedelic spectrum of colors of an eternal micro universe. The Jevtic’s visual innovation negates the traditional expression of painting. It is fascinating to realize enormous possibilities for relaxation that become obvious to the viewer focusing on the very centers of the pulsating fluidic assemblies. I observed the viewers who would largely become thoroughly enthralled by the illusionary play of the liquid flow. This kind and extent of temporary ‘addiction’ to an artifact is unique in the history of art.

It has been confirmed time and again that an artistic idea profoundly provokes materials to help the idea's most adequate realization. Opposite is also true: the material properties act on a piece of art to bring that artifact into existence. This artist was certainly aware of this mutually beneficial relationship. He attempts to mold his designs into new materials and take advantage of the materials’ potential as instruments of form. Jevtic’s opus is indivisibly linked to the notion ofthe artistic use of newer, “non-sculptural” kind of Materials. The idea that it is possible to use as an expression many different types of motions such as “breathings” of membranes, latex gloves, inflatable volumes, thin elastic foils and objects, inspired Jevtic in creating numerous pieces of visual art. The art that was not possible in traditional materials became possible in the new materials. Moreover, the properties of the new sculptural Art and science, By Marian Trsar, European Writher

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