Bild 01. (Inferno, Canto 1, 97 – 99)

Bild 02. (Inferno, Canto 2, 43 – 45)

Bild 03. (Inferno, Canto 3, 40 – 42)

Bild 04. (Inferno, Canto 4, 19 –21)

Bild 05. (Inferno, Canto 5, 4 – 6)

 Bild 06. (Inferno, Canto 6, 13 –15)

Bild 07. (Inferno, Canto 7, 40 – 42)

Bild 08. (Inferno, Canto 8, 31 – 33)

Bild 09. (Inferno, Canto 9, 79 – 81)

Bild 10. (Inferno, Canto 10, 97 –99)

Bild 11. (Inferno, Canto 11, 70 – 72)

Bild 12. (Inferno, Canto 12, 25 - 27)

Bild 13. (Inferno, Canto 13, 13 - 15)

Bild 14. (Inferno, Canto 14, 49 - 51)

Bild 15. (Inferno, Canto 15, 37 - 39)

Bild 16. (Inferno, Canto 16,121 – 123)

Bild 17. (Inferno, Canto 17, 1 - 3)

Bild 18. (Inferno, Canto 18, 1 - 3)

Bild 19. (Inferno, Canto 19, 112 - 114)

Bild 20. (Inferno, Canto 20, 40 - 42)

Bild 21. (Inferno, Canto 21, 19 - 21)

Bild 22. (Inferno, Canto 22, 22 - 24)

Bild 23. (Inferno, Canto 23, 25 - 27)

Bild 24. (Inferno, Canto 24, 46 - 48)

Bild 25. (Inferno, Canto 25, 64 - 66)

Bild 26. (Inferno, Canto 26,118 - 120)

Bild 27. (Inferno, Canto 27,130 - 132)

Bild 28. (Inferno, Canto 28,139 - 141)

Bild 29. (Inferno, Canto 29,10 - 12)

Bild 30. (Inferno, Canto 30,136 - 138)

Bild 31. (Inferno, Canto 31, 22 - 27)

Bild 32. (Inferno, Canto 32, 22 - 24)

Bild 33. (Inferno, Canto 33, 91 - 92)

Bilder sind das Spiel des Geistes die sich im Spiel des Lichtes wiederspiegeln             Dinnes

Bild 34. (Inferno, Canto 34,106 - 111)

Glaube ist Stoff der Dinge, die wir hoffen    Und der Beweisgrund für die Unsichtbaren Dante

Bild 35. (Purgatorio 1, 130 – 132) 

Bild 36. (Purgatorio 2, 16 – 18)

Bild 37. (Purgatorio 3, 94 – 96)

Bild 38. (Purgatorio 4, 76 – 78)

Bild 39. (Purgatorio 5, 7 – 9)

Bild 40. (Purgatorio 6, 148 – 151)

Bild 41. (Purgatorio 7, 10 – 12)

Bild 42. (Purgatorio 8, 19 – 21)

Bild 43. (Purgatorio 9, 16 – 18)

Bild 44. (Purgatorio 10, 121 – 123)

Bild 45. (Purgatorio 11, 100 – 108)

Bild 46. (Purgatorio 12, 19 – 21)

Bild 47. (Purgatorio 13, 37 – 39)

Bild 48. (Purgatorio 14, 1 – 3)

Bild 49. (Purgatorio 15, 64 – 66)

Bild 50. (Purgatorio 16, 67 – 72)

Bild 51. (Purgatorio 17, 13 – 18)

Bild 52. (Purgatorio 18, 19 – 27)

Bild 53. (Purgatorio 19, 121 – 126)

Bild 54. (Purgatorio 20, 79 – 81)

Bild 55. (Purgatorio 21, 61 – 63)

Bild 56. (Purgatorio 22, 40 – 42)

Bild 57. (Purgatorio 23, 82 – 84)

Bild 58. (Purgatorio 24, 4 – 6)

Bild 59. (Purgatorio 25, 52 – 57)

Bild 60. (Purgatorio 26, 13 – 15)

Bild 61. (Purgatorio 27, 133 – 135)

Bild 62. (Purgatorio 28, 1 – 3)

Bild 63. (Purgatorio 29, 73 – 75)

Bild 64. (Purgatorio 30, 103 – 105)

Bild 65. (Purgatorio 31, 1 – 3)

Bild 66. (Purgatorio 32, 67 – 69)

For me as an artist, further questions arise which have little to do with all that can be accounted for: on the one hand art as the venue of different sketches of existence, on the other hand art as a means of perceiving the world. This vision - taking into account that man is the only scene of all human processes calls for a total view and is the basis of dialogue not only between different forms of society or between different cultures but also between dif­ferent disciplines. Combining the simultaneity of reality requires a new picture of world. Art and its different forms of expression are a level of communication, transcending the level of language, as its foundations are where the individual gets access via the creative processes - that is through action itself - not only on the level of its own existence, but which creates existence by depicting it falsificatorily in an act of constant interaction. Art is able to create a utopia, is able to face the dreadful reality of war with a different reality. In this complex model, art, responsibility, information and commitment are merely different forms of the very same existential aliveness. Life is an integral part of art and isn't isolated from art. Art is both the form of awareness of the "real" and of the "possible", forming an integral whole - put to a form that bestows dignity to one's own existence as well as creation in general.

The experiences I lived through in the preceding years as well as the perceptions and relationships I made and found are given form and shape in those paintings.The painting becomes the focus of an order of colour, form and composition to me, not as a seeking but as a receiving person. I established my order. Past, present and future events merge into one point, having become timeless. Reality Starts in one's head and not the "word" was the beginning of it all, but the "picture". Only the things I can see, can be defined, can term what appears in front of me. The contents of what materializes in a painting is the way of the mind, linked to one's existence. The idea that a picture has to show what is considered the common denominator of what is recognisable, means that the mind has stagnated, doesn't lead to a higher level of "true perception" but to a trivial form of "false perception". The painting doesn't confirm one's own cosmic existence, but it is "world", experienced in one's own existence. The ability of the human mind is to get a clear picture of something that will help him to find his way. "To get a clear picture" is a permanent process. Panta rhei, as Heraclit puts it, all is in a State of flux. The same applies to our way of thinking. We live in a world which is in a State of flux, we are part of it, just as the world is a part of us. An indissoluble integral whole, whose single parts add to more than just the mere whole. To me, that seems to be the secret of life itself. This process continues in the human mind, if it is employed at all. By mere gawking he won't learn neither about himself, nor about world, nor about the subtle interplay of both. Learning and understanding man's own existence in his environment can't be comprehended by referring to already existing images. Thus I eventually move in a world overcrowded with Symbols, I become a tool in the web of rituals - the reality of the world in the State of flux is not taken into account.

Perception can't be restricted to only those elements our eyes register in our surroundings. The act of perception isn't an isolated one, but only the most recent stage of an interminable course of similar acts continuing to live on in our memory. Even the most recent act of perception is theref ore influenced by those images of the memory. Besides man's entire process of perception is coupled. Accustic signals, haptic sensations, scent elements and nuances registered by the sense of taste go along with visual perception, influence each other and transform the actual picture into one of the mind. The object therefore isn't depicted mechanically in the memory but shaped as well by the already existing pictures of the mind. Today we still say that the sun sets although we know since Copernicus that the sun doesn't revolve about the planet earth; furthermore, only some time ago people believed our planet to be a disc. In addition to that thinking itself shapes a picture of the mind. These pictures of the mind are indispensable for man. This inner view creates an angle that adds a possible order of things to a possible picture of world. As a painter, I move within this web of factors. Comparable to the field of mathematics only the searching mind will achieve results we can use to comprehend. We don't comprehend from the reproduction of things - we thereby only illustrate ourselves. The categorizations of the process when finally a picture takes shape points to those interfaces of the human mind where "ideas" emerge between the endogenous and exogenous interplay. " My paintings respond to life." That means to accept that one is prepared to act in a way that transcends the mere piece of art and that includes one's own existence that of a human being. This "humanum" takes shape in the piece of art, but has to prove its actual existence in the fact that one acts and behaves like a human being. This is mainly the reason why I have tried for more than 3 years to work for a better future in Mostar. This also explains why the world of art makes me assume political responsibility and social commitment. Man is the venue of things he conceives as ideas, then puts them into a picture and in the end develops them as a model. We shouldn't, however, mix up modeis with reality. Geometry is a model of proportions, not proportions themselves, parallels are a model of symmetry, not symmetry itself.

Being a human being is undividable: There is only one world, one life, one death, one moment , unprecedented and unrepeatable. Both my work in Mostar and my work as an artist is embedded in this simultaneity of reality. A cycle like "Homage to Mostar" therefore must be regarded as a demand: a demand for freedom, for peace and for a vision of the future. It's more than just grasping a moment and registering it. This would merely remain fragmentary, as disturbing as specks of dust on a record. The piece of art is a State of being in a world where man is a foreigner to his own surroundings. Still foreign, it's, however, already conceivable as a an idea, it's a pathbreaking sketch of a basic attitude of the mind. Form and contents fuse to new dimensions. This process of adaption can be considered a permanent one in the process of evolution, which we are part of.