PALIMPSESTI - Despot Đurić

Despot Đurić kroz metodologiju svog rada otkriva razloge i sadržaje poruka svog vremena. Te poruke su na zidovima gradova, staklima autobusa, javnim wc-ima, ljudskoj koži…. Ovi iskazi su vapaji, verovanja, strahovi, stremljenja, fragilnosti i ljudske ideje. Opsednut je grafitima, ali se njima ne bavi. Pokušava iščitati život i stremljenja koja iza njih stoje, zapravo kroz njih, pokušava spoznati vreme u kojem mi živimo. Želi ga razumeti i oplemeniti sa svojom prirodom koju je doneo kao dete na ovaj svet. Njegove slike su palimpsesti. Kopanja po iskazima koje je video na ulicama. Iznenadna otkrića u procesu tog istraživanja. Sunovrati i ponovna podizanja. Očajanja i epifanije. Sve je to proces slikanja kroz koji on prolazi, a on je istinski slikar koji živi taj proces. Prosec slikanja za Despota je ključan. Počinje od impulsa spolja. To je iskaz koji je pročitao na zidu ili na autobusu. On u njemu prepoznaje sadržaj koji pokušava prevesti u slikarski jezik. Taj momenat je samo inicijalna kapisla za otvaranje čitavog jednog sveta koji je u tom trenutku prepoznat, a koji on nosi u sebi. Taj svet Despot slika. Iza vapaja iskaza grafita stoji čovek, sa potisnutim detinjstvom, sa sputanom prirodom, sa preuzimanjem tuđih uverenja, sa strahovima i nadama. To dete, čoveka, koje je iza grafita Despot slika. Rezultat je slikarska materija koja je plemenita. Ona nastaje dugim procesom slikanja. Stalnim „prevrtanjem”, iznenađenjima, bacanjem u nepoznato. Materija u jednom trenutku počinje da „zvoni” i da peva svoju pesmu. Njegove slike nisu priče, one naprosto jesu. Same za sebe govore jezikom slikarske materije ono što se rečima ne može reći. Despot ne ume čitav taj potisnuti svet da kaže drugačije nego jezikom slike. Taj jezik je fragilan i veoma često se njegove slike, koje su velikih formata, moraju gledati iz neposredne blizine, da bi se spoznala ta fina materija koja nosi sadržaj i poruku. Ona nije deklerativna. Kroz dugotrajni proces slikanja postaje stidljiva. Despot je vredan i živi za slikarstvo. Njemu je to čitav svet i smisao. Zato njegove slike imaju sugestivnost i sopstvenu istinu koja nastala iz neposredne ljudske nužnosti.

Through the methodology of his work, Despot Đurić reveals the reasons and contents of the messages of his time. Those messages are on city walls, bus windows, public toilets, human skin... These statements are cries, beliefs, fears, aspirations, frailties and human ideas. He is obsessed with graffiti, but he does not deal with it. He tries to read life and the aspirations behind them, actually through them, he tries to understand the time in which we live. He wants to understand and refine him with his nature that he brought into this world as a child. His paintings are palimpsests. Digging through the testimonies he saw on the streets. Sudden discoveries in the process of that research. Crashes and recoveries. Despairs and epiphanies. All this is the process of painting that he goes through, and he is a true painter who lives that process. The shooting average for Despot is key. It starts from an impulse from outside. It's a statement he read on the wall or on the bus. He recognizes in it the content that he tries to translate into the language of painting. That moment is just the initial capsule for the opening of an entire world that is recognized at that moment, and which he carries within himself. That world Despot pictures. Behind the cries of the graffiti, there is a man, with a suppressed childhood, with a restrained nature, with taking on other people's beliefs, with fears and hopes. That child, the man, who is behind the Despot graffiti. The result is a painting material that is noble. It is created by a long process of painting. Constant "overturning", surprises, throwing into the unknown. Matter at one point begins to "ring" and sing its song. His pictures are not stories, they just are. They speak for themselves in the language of painting material what cannot be said in words. The despot does not know how to express this entire suppressed world in any other way than in the language of images. That language is fragile and very often his pictures, which are of large format, have to be seen from close proximity, in order to get to know the fine matter that carries the content and message. It is not declarative. Through the long process of painting, she becomes shy. Despot is hardworking and lives for painting. To him, it is the whole world and meaning. That's why his pictures have a suggestiveness and their own truth that arose from immediate human necessity.