Zoran actor-director and Zoran photographer-designer,
experience unification through a theatrical and film poster,
unification in imagination and art.
He passionately gives part of his dreams to the theater,
inviting the viewer with his photographic works
to dream and imagine with him…
Zoran remained attached to the theater in some way throughout his life. Despite the war, emigration and career change, he managed to preserve his art for many years and find ways to share it with us.
In a material world that is all expressed in numbers and in which people often suppress their artistic aspirations discouraged by various reasons, Zoran does not think about how he can profit from art but how much he can give it. This selflessness is rare, atypical, and encouraging. It is a great privilege to peek into the intimate world of a person who is so creative, honest and uncompromising. This exhibition is both a pleasure and a challenge, as it gives us an insight into Zoran’s colorful inner world.
Some details on the posters are very obvious, provocative, clear: such are, for example, the eyes of a Balkan spy turned into locks through which one peeks paranoidically. However, the posters also contain some private allusions, games and small details intended for the eye of the attentive observer: for example, imaginary acting roles through which Zoran seeks his own role in an ideal theatrical world in which he and his (un)dear people from the present and past.
Humor is often the hook with which Zoran hunts us, but that humor is not superficial, but only an introduction to the author's deeper interpretation of a dramatic text or film for which the poster was designed. A good example of this is the Romeo and Juliet poster, which is very dear to me. On it,
two pairs of feet are placed seemingly in a position that caricatures a man and a woman in bed: two smaller feet outside, facing up, and two larger feet inside, facing down, deceive us that it is a boring missionary pose. After the first reaction to this humorous layer of posters, we realize that the feet are imprinted in the sand, and that they were created by two people standing, not lying, embracing.
This small change of perspective is enough for the author to find himself both with us and with our conviction that by superficial reading we have deciphered his intention to ironize the two famous
tragic characters. Love is suddenly no longer funny, banal and simplistic, but the mystery and surprise without which love is impossible have been returned to it. Footprints in the sand, no matter how deep
and confident in their eternity at the moment they form, are actually subject to easy disappearance.
As we stand firmly in each other’s arms, dedicated and committed, but outside of that microworld of
two people, love is exposed to great challenges and windstorms. Equally porous is our belief that we understood other people, their loves and relationships, which we may have been looking at from th
e wrong angle all along. Zoran uses his various talents, photography, design, but also his acting skills,
to transform the exhibited posters, transforming himself into a wide range of characters.
We can hardly believe that every time we have the same dear face in front of us, once as
a desperate Dervish, another time as the devil from the Council of Love.
It is impossible to talk about this exhibition without mentioning Mirjana Blažević Lešić,
Zoran's wife, muse and co-author of his life. She is present on the posters as his reliable partner
for creative free play. From her role on these posters, one can read the story of two artistic
spirits who are both encouragement and support to each other. Their love world, however,
is not looking inwards, but outwards, in a mature, unusually inspiring way.
Not opting for a certain and recognizable style, not being tied to certain role models, not opting for the most adequate technology, this man of theater (born and raised in the theater and educated acting and theatrologically) seeks his inspiration and photographic solutions in the being of an individual play. Inside. It is his subjective interpretation of the primary, derived from the play. Treated psychologically, visually, essentially. Theatrical.