Milica about others
Erika Remnant
Carmel Byrne
Braco Bravacic

Others about Milica
Chake Matossian
Tamares Goh

Braco Bravacic

The children of artists have always had a very unique opportunity to create and overlap two reciprocal images – the one of their real life experience with its creative reflection in the art work of their parents. When I think of these two images, I refer to a whole kaleidoscope of actual situations versus those inspiring moments which, as they appear on canvas, can uncover the essence of an artist’s individuality.

I compare my father’s life with his artistic opus, and I come to an equation: his personality has been fully affirmed through a skillful exploration of the various creative disciplines with which he has always been so passionately involved.

My father’s painting hasn’t been developed through a thorough consideration of the final results. Neither has it ever reflected the anxiety imbued by the elusive nature of artistic inspiration. On the contrary, he has committed himself to pictorial research, in between other preoccupations, such as yacht design, architecture and the composition of music. But it was always the visual he has eagerly returned to, with the sparkle of an authentic visionary, with the eye of a true professional, and, last but certainly not least, the heart of a child.

It is only lately that painting has prevailed over his other activities, resulting in a more intrinsic and thus more enjoyable creative flow.

An artist’s mind wanders through rich visual imagery and uses each and every possibility to analyze a code of specific pictorial situations. In addition to this process my father has always regarded his ideas as resources of Beauty itself.

The temperas displayed in this exhibition have been created mainly over the past five years. They were often painted quickly, aiming for an instant reproduction of the interior images, created with the utmost fidelity into the outside, “objective” world…if one isn’t alert the image will pass by, even disappear, dispersing with no trace into the nothingness from which it originated.

A true artist can feel the modalities of his talent. In order to explore them more completely he is keen to experiment and vary ideas and their technical resolutions. If he takes no risks he can’t reach deeper, metaphysical spaces, in which the intellectualizing coquetry with himself usually doesn’t bring the fruits he has been aiming to achieve.

As my father’s artistic career developed in a radial, interdisciplinary way, his creativity has been distributed into several fields, simultaneously perpetuating each other. The outcome is an obvious summary of varied and layered artistic experiences. This has ultimately helped him to orient himself more surely toward a clearly defined visual concept, with highly structured technical requirements and broadly stylized surfaces of dynamic color patterns in his painting.

Great practicality is reflected in the economically treated spatial planes and skillfully applied perceptual tricks, and his inclination towards experimentation is evident even from his earliest, childhood tempera paintings.

As a boy, Bravacic was constantly attracted to the beautiful scenery of Dubrovnik, his native town, as he admired it from his window. In itself, this image is the ideal cradle from which to raise the creative mind. With the broken lines of the city walls and simplified tonal scales, the town can easily be seen as an abstract skeleton of countless variations, or a constructivist, decorative arabesque.


My father plays with contradicting art forms and styles, primarily investigating visual concepts as perceptive formulae or anecdotes. In an attempt towards a more purely structured definition, he often uses the stylization typical in graphic design. Composition becomes totally balanced, with outlines as functional guidelines; colors blister with contrasts, even when the planes are multiplied and forms compete in their flatness. This strong decorative effect attracts attention and wakens awareness to the similarly attractive pictures of real life. Aren’t there compositions of shapes, forms and colors all around, waiting to be recognized for their uniqueness?

The ultimate experience of reality, though, is in our hands. Thus the cultivation of perception becomes a highly valued principle.

As a student of architecture my father has become increasingly aware of the impact of visual culture as a powerful means of expressing the complex cognitive apparatus. Guidelines given by the Bauhaus and Post-Modern have oriented him towards the innovative and progressive movements of art. This frame has appealed greatly to his appreciation of the intellectually curious and open-minded individual, who is looking for a free form that favors the most experimental and original ideas in art.

Driven by the creative process, modern artists have gained liberties while deeply exploring the real and surreal. By doing so they have changed and cultivated the spiritual orientation and affected the awareness of their audience.

In this light my father, Braco Bravacic, has always been an uncompromising warrior for a happier and more complete world, in which people appreciate, and thus better protect, the beauty of their environment. In his attempt to enrich us he encompasses various modern trends and traditions, sharing the same aesthetic values as the famous architects, artisans and artists of the golden period of Dubrovnik history…

In the end, isn’t the typically Renaissance embrace of the Functional and Beautiful the only slavery that sets us free?


Milica Bravacic, visual artist, Aug. 2002
From the catalogue of the exhibition of Braco's work in 2006.