Biography of artist Andrej Bjelic

I was born in Aleksinac, Serbia in 1996. Early next year I have moved with family to Belgrade. I live and work in New Belgrade, with my girlfriend, dog and cats.

I’ve been drawing and painting as long as I can remember, inspired with my sense of self, perception of the world, special people and animals as important part of life. I graduated at Belgrade University, Metropolitan Faculty of Digital Arts in 2021 as Graphic Designer.

After finishing formal education, I decisively decided to dedicate talent to painting as a true passion.

In January 2022 I have presented selection of works created during 2021 at first independent art exhibition "THIS IS ANDREJ BJELIĆ" showcasing a selection of mixed technique drawings on paper and paintings on canvas in art initiative space KVART BW, together with ШТАБ art gallery. The exhibition was very well received by local public and art community and had generated high publicity and growing interest for original expression.

In August 2022 at my second independent exhibition “FIERY PETS“, I presented a set of works painted during spring and summer of 2022, displaying mixed technique, pastel and acrylic, canvases with images of fantastic animals, wild and mythical creatures tamed as pets, that were said that are charismatic and exude charm and desirability. This exhibition took place in BIOSKOP BALKAN art gallery and was funded and supported by reputable art foundation FONDACIJA SAŠA MARČETA. The exhibition wowed local and this time also international audience and, in the moment, to my inner disbelief and absolute amazement, ’set on fire’ the art scene. Shortly after closing, it was completely sold out to number of local and international art connoisseurs, and this success gave my carrier a new boost and inspiration for further developing skills and exploring talent.

March 2023 brought special attention to my art with two major art events that exhibited my work.

Just one day before opening of the third independent exhibition „LIONS ON WIRES“, that was revealedat MONOLOG gallery in partnership with BIOSKOP BALKAN and FONDACIJA SAŠA MARČETA, there was the showing of my work at „ENCOUNTERS“ art experience of cross-section of Serbian contemporary art that took place at CVIJETA ZUZORIĆ pavilion, in organisation of ULUS fine artists association of Serbia. I was recommended and backed for this exibition by MONOLOG gallery and with their curtesy presented by two paintings from their personal collection, both works from “FIERY PETS“ exhibition.

Currently extremely excited and eagerly waiting for art community reactions on new showings and still can’t stop thinking and working on what waits for me next. In April 2023 Barcellona calls, I will be one of the guest authors for B-MURALS spring cycle art residence, curtesy of BIOSKOP BALKAN and FONDACIJA SAŠA MARČETA. For 3 months I will be living and doing studio work for joint exhibition and selected wall mural in Barcelona.

If interested for unsold art works or have an idea for cooperation contact this web site.

Critics

Ana Popović Bodroža, Art Historian, Kuća Legata

„ANDREJ BJELIĆ: PAINTING IN THE LANGUAGE OF TODAY The young artist Andrej Bjelic is a person at that turning point in his life, which is actually the first step on the road, the first step after the decision was made to resolutely move into the domain of "pure"painting. This road has self imposed, and clearly inevitable. After graduating as a graphic designer, Andrej discovered during his studies that his affinity for painting goes beyond "given frames" and that in fact the only thing he really wants is to be alone with a handful of paints and colors, and to unstoppably produce many drawings and paintings.

Ana Kršljanin, Art Historian, Galerija Štab

"With his first exhibition, Andrej Bjelić presents himself to the public - with the symbolic title "This is Andrej Bjelić" - he bravely enters the art scene and with faith and optimism decides to dedicate himself only to painting and drawing. Andrej's works are a mirror of his personality. The works are both cheerful and introspective, because one of the main motives of Andrej's work isa self-portrait with a recognisable smile.

Ana Popović Bodroža, Art Historian, Kuća Legata

“ANDREJ BJELIĆ - FIERY PETS When Henri Rousseau’s (also known as “the customs officer”) wild animals decided to migrate to the twenty-first century and take on a new shape in the form of street art, they may have just ended up in New Belgrade; there, in a small balcony studio filled with a cloud of spray paint, Andrej Bjelić has, for several years now, been creating his world of contemporary urban desert and wilderness.

Unlike his earlier cycles, when he painted in a graffiti-like manner executing paintings in a thin layer of colour and on the same plane, in his new cycle, Andrej begins to paint more deeply, separating the background from the figures, the first from the second plan (the animals’ paws are either in the foreground or background), with more visible layers of paint, brush marks and spatula stokes. The majority of paintings have a whitish, nebula-like structure occasionally permeated with traces of golden light and a neon “horizon line”reminiscent of a lightning strike. It is a symbolic spatium universalis—a universal space inhabited with charismatic, fantastic animal figures, the protagonists of Andrej’s narrative. Given that in his personal life the painter is also surrounded with dozens of pets with whom he has a special relationship, it comes as no surprise the exhibition’s title is not animals or beasts, but pets—a term that, although these are wild and mythical creatures, renders them domestic, somewhat tamed and closely bonded with people, with a dose of appealand empathy that make them dear and desirable figures.
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The term fiery in the exhibition’s title actually points to the character of this art, which is blazing with accentuated coral red, scarlet neon, blush pink, purple and bright cobalt flaring nuances of led light, while the motionless animals seem to “salute” us with painted flames raging from their jaws and“burning” tails. Andrej’s fiery animals are transmitters of fire and flames, ready to take off like rockets. Although some of the figures appear to be based on the imagery and graphics found in European heraldry (dragon, unicorn), they are actually quite distant from the Western Europe animalistic art tradition and much closer to the aesthetic codes of African and non-European civilizations—a vast field of the art of Others. One could argue that such concept of animalism is more in line with the perception of animals as emblems, deities, distinct entities, spirits (from totemic art onwards), symbols of strength, protection, invincibility and heroism, than as creatures that belong to the world of people and serve to the anthropomorphic principle.
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The key motif is an animal figure, which is hypertrophied (160 x 160 cm) and painted in a single stroke of spray paint, brush or pastel, immediately creating a powerful first impression. Aside from the strokes swiftness, the paintings are energetically charged, with authentic neon shades that instantly excite the viewer and give senses a “kick”, resulting in some sort of a positive knock-out. Positive, because paintings are full of potent vitality, joy, warmth, and some sort of extreme simplification, exceptional humour, charming naivety, which to a certain extent nullify the predatory role of some of these creatures, making them potential pets. Remaining faithful to everyday pets, cats and dogs, which he has painted before, Andrej goes one step further placing them in unexpected contexts, and introducing new animals—wild beasts (leopard, lion) and mythical creatures (unicorn, dragon). The contexts are indicated in the paintings’ titles: The white dog who thinks he is a dragon (and spits fire), The light-blue dog who thinks he is a dragon (and also spits fire), The dog whose father was called a dragon (even closer to the world of dragons), Young dragon chasing fame, Blue lion howling, Proud unicorn, Red limbo cat with debatable talent, Rare blue-spotted leopard, and so on. The need, but also the accomplished desire of ‘ordinary’ animals to become some other, ‘more significant’, legendary mythical animals, is truly moving.
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Speaking of semiology and the symbolism of the dragon, which is in European culture predominantly associated with the dark and dangerous array of symbols—it is considered a beast, some kind of monster—we see a completely different imagery in the cultures of Others, especially in the East, where the dragon is regarded as the most powerful symbol of good luck. In some way believing that dragons truly exist—perhaps in the domain of spiritual, parallel reality—the people of these cultures consider them ‘celestial creatures’, the symbol of masculine (Yang) energy, which brings power, resilience, welfare and success to people. Although dragons rule over the clouds and water, they are primordial creatures of fire, which is known to be a strong driving principle. Therefore, it is believed that “awaking your inner dragon” means awaking the energy for your ownlife.
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Andrej Bjelić’s fiery animals seem to embody some of that mythical power, pride, firmness, vision and clear orientation towards the successful outcome of all endeavours. This honest, zealous, cheerful, but also audacious painting leaves no one indifferent.

So,remember to take your dragon for a walk!”

Denis Leo Hegic, Curator, Monolog gallery

“BETWEEN HOPE AND FREE FALL I met Andrej through a friend of mine. I was advised to meet this young artist from New Belgrade who recently “has made an incredible series of dogs and cats painting”. That made me smile - as did Andrej's very simple answer as to why he chose exactly this motif for the series: "I love dogs and cats. I spend a lot of time with them. So I decide to paint them". That's it. Nothing more and nothing less. For me, his reply, naive at first glance, encapsulated the very kind of accessibility to art on which I base all my altruism: the ease of standing on the cusp of incredible, exciting moments of (self)recognition that art can offer.

However, Bjelić's blend of candor and conviction is more than a refreshment, it represents the importance of the fearless artist in a most humble way that is so peculiar to Andrej and his work - resulting in an openhearted and irrestibly experienceable appraisal of color on canvas. This led to us acquiring most of the pieces in his consecutive exhibition Fiery Pets in Bioskop Balkan for our own collection. A recurring theme in Fiery Pets went beyond the choice of the motif, that was significant for a certain low-threshold, revealing how vulnerable we are to being subjected to overriding external beliefs. Bioskop Balkan appeared like a cathedral under construction, which was not only anarchitectural achievement itself, but also full of works of art transmitting their own content and meanings in a language of simplicity and clarity. And there it was again: the conviction that art should speak for itself, just like we'd expect of a novel: it should be more than an empty template for a curator to infuse the requisite content into.

Put more simply, if you are looking for visual art to rest your eyes upon, delight and quench your thirst for visual nourishment, in most cases you will be capable of finding it. But the experience will remain unsatisfactory if the shell is not filled with curatorial paradogms. Bjelić navigates these streams of influence with great confidence. His autonomy being based on unbridled curiosity and the joy that comes with discovering any new technique. There are no layers ofüber-intellectualization. It is pure color, paste and spray upon each other. Bjelić's works stand against the tides of banality and forced positivity that threaten to swamp the contemporary art market.

Does their primitiveness affirm the universal values of autodidactic art as a permanent canon or does it perhaps take the exact opposite view: invalidating primitivism as a derivation of external causation? At some level, the Lions on Wires exhibition commits to embracing that very question by answering it before it's actually asked. And hiding it behind a multitude of curtains in space, and layers of paint on canvas. I am aware that the simplicity was the bait for the show - but nobody ever promised the aesthetic standards of a fixed tradition. In Bjelić's exhibition we offer art in its raw, primal state with all its primitiveness and animalistic forms outside the realm of traditional symbolism.

We may seek the celebration of lion power, but I fear we might find only an ease so foreignto the ruler of the animal kingdom. Bjelić's lions balance between expectation and disappointment, between hope and free fall.

Anti-gravity art at its best.”

Ksenija Samardžija, Curator and director, Saša Marčeta Foundation

“INVITATION TO PLAY After a notable exhibition held last year at Cinema Balkan (2022),where Andrej Bjelic presented a series of works thematically unified under the title Fiery Pets - paintings of fantastic, tamed dragons, unicorns, and unusual pets with unique names and characters - this new series brings a different approach; a considerably milder one, with the color scheme of white lions enriched with pastel tones and blue manes, as they navigate in playful poses on an unstable wire.

Remarkably painterly, thick pasty layers are conveyed through the idea of simplicity in the artist's painting experience that relies on drawing, where the initial instance is a series of 12 sketches (A5 format), which are exhibited alongside six paintings in this exhibition. The line carries the basic structure, hidden by dense layers of color and occasionally lingering in the field of the painting - visible and precious as an interpreter of details in the rough simplicity of the narrative.

The novelty that Andrej applies is the introduction of space by gently emphasizing the shadow of the wire, while the illusion of spatial planes is achieved despite the confinement of the figure within the painting field. Body malformations and movements arise from adapting to the canvas surface and a nearly childlike interpretation of animal anatomy. However, all of this combined, in contrast to the means that Andrej uses and his consistency in creativity, forms an ultimate impression of immediacy, while the presence of endearing clumsiness and confusion invites us to play.

Bjelić manages to create a convincing, recognizable visual identity that we become accustomed to by accepting strong stimuli, which is perhaps best described by Ana Popovič-Bodroža, an art historian: "In addition to the vivacity of the brush strokes and the 'kick' of color - the unadulterated neon tone that currently excites and 'hits' the senses - is what makes the energy charge of the painting a kind of positive knockout." The reconciliation of the immediate power of nature with naive and almost childlike expressions of coping within the given circumstances is a significant energy reservoir from which Bjelić draws visual resources.

In Bjelić's works, we see deeply rooted patterns of modern art that were articulated in the painting of the Fauvists (les Fauves - Fr. wild beasts) at the beginning of the last century and manifested through the overemphasis of painterly qualities, simplification of concepts, the use of abstraction, and a subjective experience of nature. Art in which color acquires visual autonomy and releases a strong impulse, which Matisse, one of the founders of this movement, interprets as the courage to return to original means: "The basic function of color is to serve expression as best as possible. My choice of colors does not rely on any scientific theory; it is based on observation, sensitivity, and sensory experience." Well, all the way to contemporary examples in the paintings of André Butzer or Jordy Kerwick, in which the extreme conditions of the 20th century are articulated, and the need for primal, original, ritual patterns in our everyday lives and habits is generated.

It is precisely in the sentimental exchange and understanding of the visual discourse that offers the immediacy of Bjelić's dual nature - strength and playfulness, domination and joy, roughness and gentleness - that the impressions and suggestions of closeness that we intuitively develop towards these canvases remain mixed.”

Ana Popović Bodroža, Art Historian, Kuća Legata

“IN A LION’S JAW In semiotics and symbolism, the first and most common animal in heraldry is the lion, the king of beasts, a symbol of power, strength, courage, fearlessness, authority, force. An animal that is both, intimidating and awe-inspiring in its pride, dangerous in nature, and magnificent in beauty. Equally worshipped by the Egyptians (as the symbol of the Sun God Ra), Persians, Greeks, and Romans (as the Nemean lion), in the Far East (as sculptures of foo-dogs lions at the entrance of homes and temples), in Islam (as protection against evil), in Christian civilizations and arts (besides its role as a protector, a symbol of immortality and resurrection), the lion adorns the coats of arms of ten countries, and many more throughout history (Venetian, Byzantine lion...), and depending on how it is depicted (sitting, lying, climbing, roaring, inmotion...), it bears different meanings.

Dr. Boris Kuzmanović, Associate Professor, University "Metropolitan"

“VISUAL TRACES OF ANDREJ BJELIĆ Bjelić's creative impulse surprises like an earthquake or a tsunami. At first, their is a calmness of anapparently introverted person who listens and yet appears disinterested in the information around. In fact, Bjelić accumulates what he observes and reacts with the first adequate impulse, like a skillful cat which so often appears in his works with a recognizable and strong suggestive stroke.

Fabian Kassner, Art Historian (M.A.)

„WALK ON A TIGHTROPE Andrej Bjelić’s exhibition Lions on Wires, based on a series of drawings and paintings on the same topic, illustrates how lifely the reflections on a simple visual motif can be. The lion, “king of beasts”, a symbol of both strength and royalty, is portrayed as a caricature, as a cute kitten with a flowing mane and shaking legs on a wire. Juxtaposing dancing, stumbling, hanging and jumping lions in his unique naive manner, the artist draws attention to simple variations of facial and body expression, changes in color and shape. Although repetitive, all lions find their individual ways of posing on the shaking wire.