This abstract artwork employs a minimalist composition of stark black and white geometric shapes. The three rectangular forms, varying in size and proportion, are arranged in a balanced and asymmetrical manner, creating a sense of visual tension and rhythm. The use of high-contrast monochrome colors and clean lines reflects the artist's focus on the formal qualities of the medium. Without any recognizable subject matter, the piece invites the viewer to contemplate the interplay of shapes and the fundamental elements of visual art. This work exemplifies the Minimalist movement's emphasis on reducing art to its most essential components. ...
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Julije Knifer is today largely recognised as one of the most prominent Croatian painters of the 20th Century. One of the founding members of the 1960s Croatian avant-garde group Gorgona, his oeuvre is centralised over the exploration of a single form – the meander, which started in the late 1950s and later developed into the single central point of his artistic production.
The artist arrived at the meander whilst searching for the utter reduction of all expressive elements: "Within a few months I came, as it were, to the end, that is to a black and white painting (which I referred to as an anti-painting) – to a meander from which one simply cannot go any further“. In art iconography, the winding meander of the river has been used since the earliest artistic production and is considered a synonym for the eternal flow of life; however, to Knifer the meander was a key to a world in which chronology had no meaning, and a way of creating works that were beyond their singular self, but part of a group of works that he continued to paint until the very last days of life.
Gorgona group, which Knifer co-founded, was international both in its core activities and in its ethos. Archives of the group reveal regular exchanges between Croatian artists associated with the group and their international contemporaries, including Lucio Fontana, Robert Rauschenberg and Piero Manzoni. Furthermore, François Morellet, Piero Dorazio and Victor Vasarely exhibited with Gorgona in the first exhibition of the New Tendencies movement in Zagreb in 1961.
Knifer articulated the meander conceptually in his early sketches before he formally started painting the motif, and his life-long dedication to this simple form - the study of absence, the reduction and complete perfection in execution - reveals an artist who found his meditative outlet in the process of painting. Much like On Kawara in his Date Paintings, Knifer used a singular theme in his work to record the timeless existence and repetition of the purest, simplest form, creating calmness and beauty that exudes from these works. ...
