In the age of domination of electronic means' of ruling the world, when the young generationsc are facing the question of their future, as so many times before the young raise the question of what they can expect and count on. Surrounded by destruction of the modem world and various uncertainities, spirit and creative activities - in all cultures - depend on the rational solution of these vital problerns. The young of today in their works clearly indicate the moods and state of things in material, moral, ethical or existential complexity. On paintings of young artist Duško Trifunović, all these rightful questions mix in the atmosphere of dynamic and tense pictures opposed to structuralism, scenes of 'uncatchable electronic world and everlasting riddle of one own's happiness and joy of being. Themes of presented works are used only as motives no matter whether rural object or urban surface dominate in the apparent mess of the picture, and visual intonation is that subjective and creative quality premonition of which we can feel. Presence of human figures or isolated objects only confirms expression of something much more important. State and mood, which means lust for life and duration... and explains for how that visible world around us can offer not only ominous presentiments but relief as well; joy of that expensive cheerfulness can only enrich the art.
Unlike rural naive painting which confirms poetics of an acceptable world disappearing under heavy blows of "modernization"-expression" urbannaive",inthis context, serves to signify diverse aggregate of figurative confessions of modem civilisation urban man, comprising paintings of custom officer Rousseau as well as "new graffiti" and "transavant-garde". Such creative work persuasively demonstrated .on the paintings of Dusko TrifunoviC -is focused on extra-aesthetics basics, Le. on primarily confessional function of art. Thus, what we have here is creative work which is concetrated, not on taking part in modem art "debates", but direct, honest and formally nonchalant expression of one's experience of the world, with the help ,of borrowings from the heritage of the modem art. Paintings of Dusko TrifunoviC testify that those borrowings were not made with any speculative intentions, but spontaneously. In other words, what we have here is one very interesting testimony of recuperation of the language devised by modem art in the mind and life of modem urban man, as a constitutional and almost organic part of his ability to comunicate.
It is necessary to point out one spectacular feature of this recuperation of modem art, present in the pictures ofDusko Trifunovic: this transition has dislocated the language of modem art from its original semantic bearings, and it is acquiring new meanings. Transformed into idioms or argot of urbane comunication of one's experience or sensation of the world, the language of the modem art is often conveying messages completely different from original ones. For example, by using technique of desinvolture Trifunovic is taking over elements of the heritage of geometric abstract painting, formulae for creating abstract space and uses them in concrete spaces of his own experience, semanticaly changing them into structures of kaleidoscopic visions of new" BabyIons".
On the other hand, Trifunovic includes in such compositions expressive strageies characteristic for" enformel" painting, not in order to express idea of amorphity, but to emphasize tactile nature of architecture or to sculpture human figures. We can conclude that paintings of Dusko Trifunovic have documentary importance because they show the wide range of application of modem art language for various expressive purposes. What can such Trifunovic's expressiveness convey to us? What are the feelings? Before his pictures we have an impression that what we see is a sequence of confessionsof amelencholicsensationoftheworld, a continuation of emotional wondering about the meaning of "babyIonian" multitude of faces, scenes and events. The modem world which Dusko Trifunovic observes, obviously is not the old one, which once had its center, which every road led to. What we have here is the world without center, one planetar cocktail in which chaotic mixing and clashing of lights of the past and shadows of the present is going on -mixing of "eternity" and early transiency. Very often faces on his paintings seem to us to be masques: symbol of doubt that this wordld is only apparition which covers the real meaning. Clearly it is ancient and wise foreboding, but the value of its revival is not in the idea but in the testimony of its spread and continuation, because for as long as such foreboding exists our situation is not hopeless.
I experienced the encounter with the pictures of Duško Trifunović from Belgrade as a good book which can be read in different ways. Range of his themes and rather complicated inconography show Trifunović as a creative artist who finds source and most important stimulus for painting in his memory. His specific composition, of primarily collage type, is founded on his desire to achieve painting - sculpture synthesis on the flat surface - unity of colour shape and form. Trifunović's paintings can tell us that they were made under influence of pagan myths, eastern orthodoxy and artistic trends of our century. Their form, purity and gleam seem to be taken from great Byzantine anonymous painters who mastered techniques of enamel and ilumination of old maniscripts. Influence of the modem graphic art is also present, moreover many works of Duško Trifunović can be seen as an attempt at reconciliation, of graphic expresiveness and painter's way of thinking. Yet, numerious folklore motifs, seen through surealistic prism, are the most important source on which Trifunović' s inspiration feeds itself.
prof. Slobodan Raičević