The drawings of Marijan Jevšovar, exhibited in Yahhō Gallery, belong to the various poetics in which he tried his hand—from the socialist realism croquis of workers’ actions in 1947 through formalistic minimalist traces on paper to a simplified, geometric figure of accented shapes with a motif of a painter in the studio.

The reductionism that is visible in his oil paintings, where he has stripped layers of paint wanting to emphasize the absolute substrate and surface in his understanding of art, is also present in drawings with almost shy marks of the pencil (or felt-tip pen).

In its essence, it is a language of elements or elementary particles of painting. Through this language, Jevšovar tried to realize the emanation of pure art or to isolate and present the stimuli that can only be achieved through visual art. This is evident in the squares of applied and stripped paint (for which many of his canvases and drawings resemble paintings of Mark Rothko), in hard lines they create people and interiors, or in the clusters of linear moves that, like the lonely archipelago, stand on his papers. In the case of the aforementioned discrete interventions, we have the impression that the surface completely overtakes the viewer when it is so subtly and almost invisibly attacked, like the surface of water gently rippling while a leaf or a branch is floating on it. Evidence then becomes only a trace of some presence or unrealized possibility of form.

Croquis of workers’ actions, as well as how these scenes are placed on the base (without centering on the paper format), suggest thinking about the whole of their appearance primarily as drawings, and only then as a representation of an event.

And in which way do all the archetypal dolls he painted and drew: man, woman, artist (Creator), fit into the knowledge about this artist? Their presence throughout the entire Ješovar’s opus as well as the curiosity that, with their figurativity, they represent within him, testify to the author's enduring obsession with elemental forms.

Original by Feđa Gavrilović (translated extracts).