Before All 2008

Curator: Editor: This is Dragan Ilić Di Vogo’s "Before All," painted in 2008 using oil paints. I’m struck by the surreal combination of classical portraiture with that… well, I’m not sure what that rocky shape in the corner is meant to be. What's your interpretation? Curator: I see it as a potent intersection of historical context and surrealist critique. The figure’s classical portrayal evokes traditional power structures – think of European aristocracy and the male gaze – but then it’s disrupted. What does it mean to see her alongside this displaced natural form, set against what could be construed as environmental degradation? Editor: So, you're suggesting the artist is contrasting feminine ideals with environmental concerns? The landscape behind her seems pretty bleak. Curator: Precisely! Consider the title: "Before All." Before what? Before environmental collapse? Before the erosion of identity? The woman's gaze confronts the viewer, almost demanding accountability. This challenges viewers to question the values embedded in the tradition of portraiture itself – its links to power, consumption, and even the objectification of women and nature. Editor: It's a compelling thought. I initially focused on the woman, her ribbon, her gaze. I didn't immediately connect her image to something as monumental as the environmental discourse. Curator: That’s understandable! The painting operates on multiple layers, much like the interlocking systems of power and privilege that shape our world. The placement of the woman and rock within framed fields calls for a deconstruction of hierarchies, prompting questions about how we categorize and value subjects, identity, and natural resources. Do you find that adds a layer of meaning for you? Editor: Definitely. Seeing how the historical portraiture can be subverted and linked to broader issues, especially around power structures and ecological issues, opens up a whole new understanding. Thanks! Curator: Absolutely. These connections are not always visible, but the intersection of art and critical theory allows us to unpack complex narratives. It encourages us to see, not just look.