Marko Djuricic was born in 1955 in Vojvodina in Yugoslavia. Beaux – Arts school in Novi Sad. He goes to Paris in 1977. He is exposed five times at the FIAC at the Grand Palais. He took French nationality in 1998. His work is represented worldwide.

My work built itself in the course of an in-depth study of the dead ends with which confronted the artists who forged the big History of the art paint. In other words, and as regards the creation, I tried to understand why and how the painters knew how to open new horizons of pictorial expression. And especially envisage the possibility today to create still, in the specific domain of the art paint.
The subject is ceaselessly reinterpreted, by knocking down every time rules.
It’s like that for every handled subject, my permanent concern is to remain as closely as possible to the medium, the paint, to separate never the subject of the contents, and to prove that all the announced ends were always overcome and overtaken. What to paint? No matter. The question is how to paint.

What to paint? No matter. The question is how to paint.
So that each wonders about this question, my works are registered in a white border. Border which suggests a reproduction. The reproduction of a work of art, an illustration, an image. In every work, two techniques oppose. With to the limit, the questioning of each technique, made readable by the handled subject, whatever is the handled subject.

My series join the same global approach. They speak about the passage of the subject to the medium. Bit by bit, the handled subject, the hyper realistic in the first element of a series, fades in the paint matter. The subject disappears, and it is the painting, the paint matter which becomes dominant. Beyond, colours get involved, still play until Annihilate. The last canvas of each series is monochrome.

Among my themes of research, the imitation. It is by pure coincidence that a way opened, a starting point for my forward-looking researches. I had just painted some meat, as many of the other painters made it, while knowing that in this domain of the representation of a subject, from imitation, everything had been made. But by scraping my pallet, the meat appeared, not painted, but directly gone out from the medium. I made then, at this moment of precise reflection, the transfer of the meat for the Flesh. The Flesh in the sense abstracted from the term, the flesh pictorial object, concretion of the senses.

In my work, I try to purify at the most the signs or the gestures for to allow the looking to seize immediately the subject, without any interference. I do not want to restrict the reading and the interpretation by a useless dispersal. With the Flesh, I approached abstract subjects as “the temptation of Saint Antoine” which we could entitle as well “Luxury and Prurience”. The title given to the works returns the immediately understandable subject. The work concretizes in a sense the approached abstract theme.

M. Djuricic

Galerie Alain Digard / La Pochade Paris 1er
FIAC 79 Grand Palais Paris
FIAC 80 Grand Palais Paris
FIAC 81 Grand Palais Paris
Galerie Jan De Maere, Bruxelles (Belgique)
Château de Burdinne ,
Casino Knokke Kunstbeurs, Utrecht (Pays‐Bas)
Galerie Jan De Maere, Bruxelles (Belgique)
Château de Burdinne,
Casino Knokke
Kunstbeurs, Utrecht (Pays‐Bas)
FIAC 82 Grand Palais Paris
Château de Burdinne
Casino Knokke
Galerie d’art Artemis,
Saint Martens‐Latem (Belgique)
Galerie Jan De Maere, Bruxelles (Belgique)
FIAC 83. Grand Palais Paris
FIAC 84. Grand Palais Paris
Centre d’Arts de Metz, (France)
Galerie Raymond Banas (France)
Galerie Luc Queyrel, Paris
Gallery Alex, Washington (USA.)
Gallery Grey Mc Ear, Santa Monica (USA.)
Galerie du Montparnasse. Paris
Galerie Luc Queyrel Paris 6è
Galerie Mailletz Paris
Galerie Luc Queyrel, Paris 6è
Galerie du Montparnasse. Paris
La Galerie, Maurice et Pascal Denia, Espagne