Painter Dragomir Mišina

Shape of Colour The psychological effects of colour are different for each person. Shape of Colour 6 Acrylic on Paper 59cm x 84cm

I was born in and grew up in Croatia, living in the countryside, surrounded by blue mountains. Roaming around the hills and exploring, days seemed endless during long hot summers. This notion of utopia runs through my work, intertwined with the complexity of contemporary culture.

I moved to England when I was twenty. I lived in Oxford for few years, surrounded by the unique architecture setting and cultural diversity which the city offers. Following this period I moved to Bath, a city founded by the Romans and enriched by Georgian architecture. I studied Fine Art Painting at Bath School of Art and Design, Bath Spa University. Now I live in Bath and work from my studio in town at 44AD artspace.

Selfie Selfie painting questions way in which we perceive and react towards each other. Selfie 2 Acrylic and Spray Paint on Board 50cm x 70cm

I have exhibited in Bath, Bristol, Corsham, Oxford, London, New York and Mexico City. In early 2014 I was one of 10 finalists selected for the Saatchi Art exhibition in London “In Glorious Colour” from 6,440 entries. I was the winner of the Evolver Wessex Artist Award at RWA’s 161st Annual Open Exhibition in Bristol. My work is also part of the ongoing Saatchi Gallery Screen project. In the 2016 edition, my work was extensively published in The New Collectors Book; a New York based Annual Art Publication. As well as having paintings in private collections in Europe, Asia, North America (including Agnes Gund Collection) and South America, my work has been purchased by Bath Spa University and is now part of their permanent collection.

Doppelgänger The series of the paintings is closely connected to the Selfie series from which is derived. Doppelgänger 1 Acrylic and Spray Paint on Paper 59cm x 84cm

Artist statement

I use the process of painting to document physical and psychological presence, investigating the communicative function of colour and form as a reaction.

The starting point of each painting is based on some form of narrative, which inevitably informs the course of painting. However, in the process of painting, it is not a question of making ever more references to the narrative, but a deliberate attempt to escape from it. Therefore the paintings may be observed for what they are rather than what they should mean.

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