Jelena Manolčov




"Trains are not just the romance of my life. The coupe was my world! .... I had my own personal trains, as I had my own personal love. From marriage to cognac is only half a step away. From the road to the forest, just a breakdown of the forest of the mind. And I often did those steps in the trains of this life. And now I hear the wheels of my trains rolling. Where did I get that? I do not know. Traveling autumn. It travels crazy and crippling. It’s traveling a number of suburbs ... Take your luggage. The train is moving minutes after midnight. ''

For Tatjana Tanja Pejovic, the railways and trains, represent a completely new, different, irrational corner separated from reality. From a driving coupe, the world view of her is metaphysical, allows the avalanche of answers, the subjective experience of the world, and their own thoughts that lead them deep into self. Driven into one's own being, traveling through areas that help her start a dialogue with herself, leads her to something personal, etheric, and eternal. Through thoughts and feelings, the inner energy of the idea transforms it with the imagination into the life of art.

A thematic cycle called "Railways" represents an impressionistic whole that is given by the unity of the colored mass and the line. This latest series of paintings, oil on canvas, was made in a figural, realistic poetic style. The rhythmic sensation of the vertical and horizontal movements of rich spreads creates the impression of the already seen, experienced, but completely personal view of the urban. A subjective view of the modern and traditional parts of cities, the forms of the world that are emerging and disappearing in a moment, Tatiana managed to quickly capture and materialize through geometric and simple contours. Glowing facades, blisters of sunlight on bright red rooftops, areas painted with clean batches of yellow and green painted coats tell us about the artist of a lively and sensitive painting manuscript, a playful colored palette. Soft shadows and mild overcasts are further enhanced by the empty urban spaces and the railway stations without passengers. After that, a fierce move of raw paint on the surface of the cast of the creators of expressive impulses and imaginative compositions.

With a glance, she speaks silently and paints her prose reflections on the canvas. Fragrant winters, sweeping years, mystical journeys and warm landscapes, seen from a somewhat unusual angle, a driving coupe, in which, like fast-moving frames in a movie, the images that need to be absorbed into the subconscious are in front of her eyes.

The current artistic cycle Tatjana Tanja Pejovic presents one philosophical effort by the artist to recognize herself in space and time, to attain the essence of the crystal mind in the tranquility of her own being. With a cleansed and clear mind, through different angles of observation, it creates, changes, and shapes new compositions adapted only to her’s imagination.


Jelena Manolčov

Dragan Jovanović Danilov Review




            Belgrade is a gigantic library through which the Sava and Danube protrudes, its always awake mirrors in which the deep layers of this city are projected. This sentence comes to my mind as I look at the picture "Belgrade Fortress" by Tatjana Pejović. The painting world of this artist is inspired by a charismatic city, it exists between broad, epic spatial visions and lyrical visions, impressions and ascents. It is a live, mobile painting in which an enlightened meditation raises the image temperature. Pejović in a profoundly personal way represents suggestive urban scenes. In such a painting idiom, everything is decided by the strong, gestual vitality that comes from the mysterious decisions of the instinct. This artist does not describe, but on the painting field expresses inner understanding, the mental representation of Belgrade. It is left to the urban scene, but it never treats it directly and scrupulously, but seeks and always, as a rule, finds the most expressive moments of the Belgrade atmosphere. Therefore, on her canvases everything artificially vibrates, and again everything is stylishly clean and clearly defined. The visible world in the field of painting thus becomes imaginary, and the imaginary world turns into reality, all in a complicity that is actually a mental process.

      All significant works in art came from esoteric schools. Esoterics and tradition are indispensable bases. Painting of Tatjana Pejović is based on esoteric insights, transformations and changes. Her manual eurithmy is full of dramatic turmoil and all in the service of exploring the depths of esoteric-spiritual intimacy. The untouched fantasy of a dramatic-expressive painting dictionary is articulated into the esoteric scenes of Belgrade, which is, for this artist, a charismatic city for self-awareness. Tatjana Pejović invites a poetic, inner city on her paintings, and not a factual Belgrade.

       It is being re-examined here and it poses the problem of urban scenes on new bases. In the scenes that Pejović's pictures has, there is the unpredictability that can only be captured by a filmmaker. The frame for recording the picture is almost set in motion here. When it resembles a window on a wagon that frames the scene in close-up (a paradigmatic example is a picture of "Dinner.") A whole series of urban scenes, in accordance with the laws of some strange oniric logic, actually treats the topic of unstable identity. The subjects of Pejović's interest are also melancholy isolated scenes of human figures ("Motive from celebration of Patron Saint") or objects (cups of coffee or glasses) that are in their seductively passive nature opposed to external aggressiveness. And the scene is nothing but a different reality. Colored by anthropological and existential pessimism, they have something of original manicristic artificiality. Pejović's fine art language is sprinkled with a gentle and stylish art atmosphere. This artist, obviously, knows the scenic possibilities of the scene witch she paint and they are strategically placed in a permanently stopped cadence. The calculated rakurs from which the scene is viewed, create a particular type of tension, which is truly an original discovery.

      In the Mediterraneancycle of paintings, I mean primarily on the scenes of Herceg Novi and Boka, Tatjana Pejović does not explore too deep in darkness, but builds her world from the light of the day. Her painting language invokes a rich colored registry. The decoration of this painting is enamored with an inner mark. The painting field is soaked in the poetic state of her mind, with its internal brightness. Hence, in this paintings, life joy and a bright orphism are manifested. 

            Painting of Tatjana Pejović could be defined as self-examination and self-illumination through which she penetrates into the depths where the "shell of the ego" opens. She is an artist of Mediterranean sensibility and sensuality, but who does not give up of the Northern light ider. In her pictures, an expressive dramatic spring and pictorial nervousness relate to the mimetic-representational image paradigm and rational deduction.


                                                                                                                                                             Dragan Jovanović Danilov

Djordje Kadijevic Review 


Free Figuration



In these days, at the beginning of the “post-2000” era, we have two generations of painters that qualify as new. The first is the one that resisted iconoclasm apologists' “new media” in the last decades of the past century and the ceremonial "returned" painting. And then comes the next generation of painters, where belongs Tatjana Pejovic, which has not returned to painting, because it is not deserted. Common to both of this generation is that figurative painting. For the former, this figuration is "new" or "other,” and for the latter, among which I am, it is not the first, but only .... The difference in question I have another shade. Figuration First, the returnee generation of painters is syncretic, created in opposition to the once dominant Non-figural aestheticism. The way I paint Tatjana Pejovic its peers corresponds to the free figuration. It is, simply put, about the painters whose canvases appear in his world almost forgotten, distinctive character. This phenomenon, unlike the previous ones, is not conditional on any case or “un-“artistic creativity from the previous period. Pejovic belongs to a generation of young artists, psychological and moral unencumbered from any obligation to the past, as well as from what is considered to be current in the present. These young fearless anything that is, so to speak, until yesterday, represent an obligation, or something that is valid today, almost as a law.

Pictures Tatjana Pejovic possess all the typical features of a free figuration. There exists the impression that Pejovic not selected themes. Painting simply 'what (is) seen.' This is, of course, superficial impression. Her appearance of non-selective topical width indicates, indirectly, a conscious aversion to physical of exhaustion to yesterday '' current '' art theme. Word is actually an aversion to anything with which the painter's creative act stipulates, however, was to aesthetic standards, national emotions, ideas or ideological premise of political content.
This young artist as if her case confirms the assumption according to which, 'after all' 'what is' happened' in the arts during the past century, in a new Centuries imminent moment when the artist is, like it or not, once again faced with a picture of the world the way it really is, I look at what he sees in him.
Pejovic pictures men sitting at Slava dining table, fish on the table, infants in diapers, lonely girls I melancholy fry caught in the sitting position, the image I even own canvas or painted or unpainted. Her spontaneous brush or safe move deprived the matter which comes from some aesthetics. And just as in the scenes of her paintings no trace some conceptual predilection, so I in its chromatic colors absent '' discipline ''. This is by no means a sign of a non-mandatory or ease intentions. Pejovic, with every picture confirms recollection of her thoughts and feelings. It is always remains a visible reason why its image is formed, it is always to understand her creative motivation.
If everything she paints welcomes, then it is an unambiguous sign of its talent. It's all the same technique that it serves. Equally, it is sovereign when the line when oil on canvas, or when doing what I mosaic.
Whatever and however she works, Pejovic still achieves the same effect - this is what made her hand look to be a long and carefully to a property, this “viewability,” past all the aesthetic and theoretical elaboration, the value testifies paintings.
These human, life ... ..

October 2002
Djordje Kadijevic



Dusan Djokic Review


PAINTING essential


Despite the fact that certain lines of formative young artist Tatjana Pejovic correspond to a sensitive time span second half of the last decade of the past century, the application already dispersed wave of colossal Utopia I poetics of many separate streams, in an atmosphere hyper-permissiveness so-called '' free '' and '' critical ' 'figuration of what has in some way marked the activities of the many events related to suspicions of parallel efforts related to the generation of European and uncertainties, global, virtual tremendously accessible terrain, its expressive potential of the profile I could not just simply insert any formalistic box. As I work in the creative process, relying on a bed very early, luxuriant talent, to the extent of many, won amazingly mature disciplines, from drawing and graphics to a wide intervention in many, diverse technological procedure of painting on various substrates up to mosaics and other types of wall painting, it is manifested in the equally unpredictable, wide profiling of expressive spontaneity, I do analytic formal been reduced, the momentum is all the manifestation of unusual openness and support nakedness, where, depending on the possible, the initial motives, or completely suspended the affected genre, what is everyday and seemingly the most accessible, stands entirely separate line of events, irreducible and unrepeatable, building such a completely isolated, plastic-built autonomous agents chronicle.

In portraits or group portraits, landscapes or completely documentary, urban vistas environment and characteristic architecture, or object - symbolic representations, such as the early Christian fish motif, as if it were, it is necessary manner, without falling into superficial automatism of mere citation I cynicism simulation, summarized, in a way, the full range of genetic code pleiads large muses modern painting in Serbia range from a century of Nadezda Petrovic to Dawn, much less on the ground in order to strengthen the feeling of an enormous debt, but that, with a strong impulse and full of spiritual composure, following instinct rather than program-poetic schemes opened a space for a completely personal and original situation authentic plastic adventure, irreducible and irreversible in any given moment. You would not think that painting Tatjana Pejovic, despite amalgam fed to the brutality of confrontations refinements I aestheticizing physical materialization, in contrast to the characteristic gestures, complex tonal and color harmonies and disharmonies, or for a span gave the conventions direct communication. Familiar and accepted, illusionist frames, appear as a trap for the inattentive, the mere ceremonial mats in the lobby of an imaginary, to the artistic core of “Dark vilayet.”

Dusan Djokic

Painter and art critic

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