Transformation through the Negation of Negation: Zlatko Keser

Sa？etak The actual “black phase” of Keser’s expression is not unique in his opus, although it is perhaps the apogee, the peak of the demands of existential directedness, the necessity of a characteristic reduction to the vital. Using exclusively graphite and other sources of blackness, the painter articulates his scenes in various ways; at the very brink of deafness and nonexpressiveness, he created his own manner of dance around emptiness, emphasizing the dialectics of diving into nothingness and rising to the surface of the magma of nonexistence