Interview with Marko Tubic

Updated: 3 days ago

Can you tell us a little bit about how your experience with art began?

My professional artistic career starts almost immediately after I graduated at the Faculty of Fine Arts in Belgrade. My work was then recognized as promising by gallery owners who attended our annual school exhibition in 2010. People who are fond of my work usually grow an inner, intimate connection with themes I'm dealing with, but often love my painting style (said to be specific) as well.

Is there a particular sense or feeling that represents you more in your works?

I'd say I'm drawn to the very nature of feelings. I'm into analysing the structure of different emotions. This helps me to grow as a person, I think. Sometimes I have a kind of inner struggle that I can't define as a specific emotion. So, I paint whatever comes to my mind in order to discover what makes this unease. 

Has the country and the environment in which you were born influenced your artistic production in any way?

It probably has in a way, but I'm more focused on my intimate emotional life.

Does classical art influence your work?

Definitely. Besides the fact that I attended classes of drawing and painting human figures for several years at, or even before my studies, I was always leaning towards classical concepts of composition. Mostly Renaissance. I was also influenced by sculptors such as Michelangelo or Bernini. I admired the beauty in understanding the human form by those artists. Elegance and harmony is what made their work eternal.

Among your paintings is there one that you consider your personal masterpiece?

To pick one among few, I’d say "Little Prophet". I guess this painting hurts me the most, whenever I look at it, and it doesn't have anything to do with nudity or sexuality. It represents this childlike creature, facing its eternal loneliness. Sticking his hand into his own reflection as if he's trying to hold on to something, or pull himself together. I painted it after my mother's early death. I do believe that my other work is often oversexualized simply because I'm unconsciously compensating the fear of death. However, this painting was awarded by Nis Art Foundation, and it’s in possession of Philip Morris Company, Serbia.

What do nakedness and sexuality represent in your artworks?

It's the most natural way for me to paint a human being. Even as a kid, I admired classical figures, nude Greek bodies, Etruscans. There's an archetypal value to it which I tend to show in my work as well. 

In many of your paintings the colour black predominates, what meaning do you give to darkness and light?

At first, I used black colour as a background to which I was adding layers of light colours, mostly pink, flesh tint, simply because it looked quite good. Later, I developed my whole PhD thesis on this way of painting, suggesting that darkness can be symbolically interpreted as the Jungian subconscious mind. Jung suggested that our emotional struggles simply disappear the moment we unveil, realize or add light to those places that we keep away from ourselves, deep in the dark. In the process, I was painting the light.

Can you explain something about the unnatural positions with which you depict some characters?

I rarely use photos, or models. It is purely a matter of changing the human form freely, while following certain driving emotions. Not being a slave to what humans look like in real life, makes me feel ecstatic as if I'm creating a whole new universe. But, I do always tend to follow basic rules of firm composition and rules of natural proportions in order to maintain harmony.

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