Biography


How did it start


Born Autumn 1959. Dalmatia.
Moved to Sdney, Australia 1992.
Completed study of Fine Art-Painting 1995.
Exhibiting in Australia and Europe.
11 solo and more then 30 group exhibitions
Member of National Association Visual Art - NAVA

Solo exhibitions:


- Wizard Art Gallery Sydney 1998
- Mondrian Gallery Sydney 2000
- ABC Gallery Melbourne 2002
- Heliconia Gallery Port Douglas 2003
- Gardner Gallery Melbourne 2004
- Gaffa Gallery Sydney 2006
- Graydon Gallery Brisbane 2007
- TAP Gallery Sydney 2008
- Galerija 73 Belgrade
- National Museum Valjevo 2012
- Galerija Krug, Petrovac na Mlavi, 2015

By Voya Rayeetch
Writer, Journalist

“The notion of love, environment and the unknown dominate the majority of his works. Using semi- abstract as a style the artist powerfully projects his feelings and visions on canvas. His works are unique and inviting. Sava’s exhibitions are very well attended and his art is very much in demand"

By Paul McGillick
Visual Arts Critic,
The Australian Financial Review

"Sava’s art is a striking mix of personal and culturally inherited elements which seems, on brief acquaintance at least, to have a certain restlessness about it – as though the artist was on some kind of permanent quest and his art a graphic diary of the journey"

By Liv Toth, Visual Arts Critic 2009.

Pareidolia is the psychological phenomenon of perceiving significant shapes in vague stimulus: faces in clouds, human figures in streams, or entire landscapes in single pieces of rock. Such tricks of the mind reflect a deep need for emotional connection with the environment. Sava Manojlovic’s work speaks to such desires. His paintings are evocative studies in placedness. Human figures are inextricably intertwined with the landscape, offering a picture of ecological unity. In Manojlovic’s work, forms and figures issue from rock-scapes or melt into abstract rivers. Each entity’s existence is predicated on the presence of the other, drawing our attention to states of balance and symbiosis in the natural world.

Manojlovic’s practice is not fixed, but rather a trajectory of knowing that is continually developing and changing. His paintings and drawings chart a personal journey that began in Dalmatia with a childhood obsession with rocks and land formations. For Manojlovic, rocks are metaphors for strength and creation. Every rock collected, considered and repositioned as a child became a visual lesson in the language of form. Manojlovic has become adept at translating natural stimulus into painted abstractions. In his landscapes, the formal qualities of line and shape are paramount, while figuration appears secondary- perhaps an inevitable byproduct. Similarly, colour is not used as a referent, but rather as an emotional tool. The drama of the artist’s iridescent tones takes us on a journey into an other-worldly dream-scape or emotional terrain.

Art is often used as a way of processing past experience in the present moment, and Manojlovic’s paintings and drawings are laced with nostalgia. Here, personal histories are employed in pursuit of general truths. Manojlovic’s figures are enigmatically featureless and therefore perpetually anonymous. Yet such a state of blankness actually offers immense freedom in that it can be substituted by the viewer, ad infinitum. Manojlovic’s images are consequently filled with potential; universal meditations on the human condition.

By Jasminka Plavšić Đerković

"Preoccupied imaginary representations of scenes and feelings of being artistic, Manojlovic in their area established order and a world bathed in a metaphysical light. Color, clear as the water of life, connecting scenes in the whole and realizes the blue theme image differentiation. Thoughtfully scenic unity in the light that absorbs rather than radiates, internal unity is something disturbing, not clearly defined, nor explicit.

With empirical experience, in the field of visual art, the author makes an impression on the viewer, creating a general idea image as a unified body. Relations parts in the composition of organic sui freedom of movement related and compact, demonstrating the potential strength and power, and conquering and exposing the apotheosis of the future. Understanding the show is focused on the shape and form of the coexistence of image areas and therefore, in simple terms, Manojlovic creates art liberated from the rules that are considered certain and confident of the success of a work of art, even though it results in this regard and in any case do not bypass.