Nastić

Darko Ranković’s painting is characterized by fantastic realism, based on the study of various transformations of an artistic contents in a series of psychological and symbolic images. That is an alchemical way of thinking and creativity on the principle of solve et coagula, the elements have a symbolic character led to the archetype source. They are dissolved, razed in order to be thickened, condensed in a new way, with a new psychological and symbolic potential.

The metaphors of irreal Ranković paints out from the profound layers of subconsciousness, because he is also interested in the archaic power of totem demons and man-like beings in the symbiosis with the animals as a Kafkian transformations. This painting constitutes a new way of sinking into the reality of subconsciousness, perhaps even the shamanistic entrance in the field of garden of parallel worlds.
Dionysian scenes from his paintings remind of Picasso’s drawings with the satyrs’ subject matter. However, later paintings with naked figures in the transformation with the shell-like symmetry are frequently composition schemes. Bodies become duplex or triplex beings. Sometimes, space is stratified and constructed in plans, as the layers of reality, covered by the Izida’s veil up to the latest paintings done in the diffuse, soft light of the twilight of William Turner.
Darko Raković’s paintings are something like Rorschach’s stains which stimulate visual paranoia, by the activation of the relation between the material and spiritual world by their symmetry. That transformation of man and the living world is biologically dynamic in these paintings. The spirit of life and the spirit of the passing constantly come into conflict as square macaronis on Leonardo’s wall which induce the work of the painter’s imagination or Dali’s clouds in which the constant change of forms can be recognized.