Michael Berry, 2010

The inevitability of the landscape as a prime source of enchantment and simultaneously as an unruly chaotic force unleashing awe, terror and fear, is the inspiration stimulating Miodrag Jankovic’s impassioned responses to the daunting and humbling power of nature unfolding in his latest exhibition .
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It is as if the illusory interface separating internal and external space has collapsed, in his pictorial world harmony and disharmony pivot, one to the other in flux – the tangible and the intangible dancing the void, as the mind and the earthly firmament mirror one another – no claustrophobic urbanesque-scapes here, rather the environment as ever expansive, airy…of atmospheric acrobatics, ephemeral showers of light, brooding, moody, reassuring and threatening.
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Miodrag’s is a painterly approach, a definitively modernist take on realism and the landscape with its talons steeled in the expressionistic and metaphoric fire of the likes of Nolde, Munch and Ryder – feelings raw, uncut, colours exuberant, dissonant, portending change, awakening and calm, beginnings and endings, essences in transition, and above all, technical fortitude for the artist as pathfinder as well as a visual environmental exorcist of human interference.
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All the while dramatic and romantic in the manner of Delacroix, these images confront the issue of relationship, of impermanence, of the ‘psyche of the environment’ and the interactive ‘psyche of the people’ living in, on and from it, and the sense of powerlessness felt when facing the cosmic absolute – where not being in ‘control’ is not frightening, not angst ridden, but a state of meditative awareness on the whole inexplicable order of the universe.
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This new series of works is a breakthrough for this fine artist, presenting aesthetic challenges of a complexity and difficulty not evident in his earlier spontaneously gestural pictures – here the artist has slowed down, considered, taken stock, pondered, painstakingly fought the hard fight with pigment, oil and brush, translucency and texture, tone as drawn form, luminosity as space, of contrasts…and triumphed for mindful representational minimalism, beauty as ecstasy and a re-endorsement of holistic order as Albert Schweitzer’s ‘reverence for life’.air max 90s

Elizabeth Cross – ART REVIEW – 15 Feb 1989, The Age

“At Powell Street three painters make their debut.  Of the three, Miodrag Jankovic is the most assured.  While he wears his influences on his sleeve (elements of John Walker and Firth-Smith)and the motif of a primitive sailing vessel is a bit too simple and schematic, his handling of paint demonstrates feeling and accomplishment.ray ban predator oakley military sunglasses nike air max running

Gary Catalano – ART REVIEW – The Age, 17 July 1985.

“Miodrag Jankovic, who makes his debut in a group show at Powell Street Gallery, South Yarra, is the single painter among the three.  Now in his mid-20s, Jankovic came to Australia in 1971.
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In all his works he employs a primitive vocabulary of blocky, cylindrical and conical forms, none of which is purely geometric.  His best painting (and here I’m thinking of ‘Rear Window’ and the two called ‘Urban Landscape’) are those in which he assembles these forms so as to produce slightly dated industrial landscapes.
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I found the awkwardness attractive.  Jankovic likes to emphasise the divisions between forms not just with thick lines but also by abruptly changing the direction of his strokes. Like the choppy pools of scudding strokes which underline the conjunction of certain forms, these features all embody a weight of personal feeling. They almost make sincerity a tangible thing.
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Subconsciously, I suspect, Jankovic is painting that milieu his parents entered on their arrival here.  For reasons too complex to unravel now, the industrial landscape is a theme which has been shunned by most native-born artists.  Who is there besides Whisson and the Blackman of the 1950s?  When the National Gallery of Victoria gets around to mounting a survey of such works it could well include one of Jankovic’s – along with those, of course, by such foreign-born artists as Jan Senberg and Peter Booth.”
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