Copyright ©2009 PopEntertainment.com. All rights reserved.
Posted: April 19, 2009.
Dino
Misetic, 27, is Washington DC based artist whose new exhibition “life and
LIFE” , opens April 23, 2009 at Mendelson Gallery in Pittsburgh.
This young emerging artist, who got his degree in Fine Art in 2005
from Carnegie Mellon University, spends months
creating each piece – closing the gap between reality and imagination.
With his
good looks you may expect him to pop up on the streets of Hollywood,
but this new kid on the art block is very successfully
working to establish himself
as one of most important emerging young artists on the American scene.
A few
weeks ago we met with him in his apartment to discuss his life
and career.
You
grew up in the War-ravaged former Yugoslavia. How did that affect you?
I was a
kid around that time and I had a large group of friends. I viewed the war
and atrocities through a fantastic lens. When you’re faced with something of
that scale of darkness, it’s difficult to not include it as a part of
imagination. It sort of becomes an entity residing in your creativity,
molding it this and that way. Some of the strongest memories I have were for
some reason of animals – dogs especially. There were a lot of stray dogs
during the war and my friends and I made a little gang and always had five
or six of these strays we used to take care of and feed. I also remember how
during it all the kids living in various apartment buildings became
identified by the color of the building, such as grey and green, and we
would always consider each of the other groups of kids as rivals. We would
throw rocks at each other, fight, make dogs fight, catch pigeons, chase
girls, play soccer, dodge bombs, run for shelter, play in a medical
dumpster, sell cigarettes, stand in line for bread…that’s about the gist of
what we did during the war.
What
was your first exposure to art as a child?
My
earliest memory was a Japanese museum exhibit my mom took me to see. I
remember seeing a Samurai armor in a large glass case. That was the first
time I recall having an experience that moved me. There was something in the
patterns and the beauty of it sitting there in silence and isolation. To
this day I love Japanese work whether it be art or craft. Japanese swords
are a prime example. So much complexity and time goes into one of these
masterpieces yet the finished work is so simple and rhythmic and possessed
so much beauty.
Did
you receive support from your parents when you decided that art was your calling?
Drawing
is something I have always done and loved doing since I was a kid. My
parents were very supportive of me which makes me somewhat of a lucky guy. I
don’t really think I have made a clear decision. It wasn’t something that I
chose to do. I mean there was a brief period of time when I considered
studying law purely based on the income, but that was more of an artificial
decision based on popular choice in careers. I consider art the most
difficult relationship you can possibly imagine. It can beat you down and
hurt you in the deepest way possible and leave no bruises but it can also
give you that moment of ecstasy that’s worth all of the hardships.
Do
you see connection between fine art, music, comic books and books in
general? Where is the start and stop that magic line which is connecting
them?
Of
course. It’s difficult – if not impossible – to ignore all the influences
those have on you. For example, if I am painting a sad piece I prefer to
listen to music that synchronizes with that emotion. I loved comics as a kid
and still do to this day. They are some of my go-to reading materials. I
mean to say, all the things coming out of an unknown place and being formed
into text, images, or sound, or objects, are related and influence the world
around them. Sometimes I start with a short story or a poem to get an idea
for a painting. I get vivid images from reading and writing.
What
can you tell me about your paintings?
First
thing I see in my own work is some sort of a longing for something. I think
of my work as poetic and narrative and atmospheric. There is something in
darkness that intrigues me and leads me blindly. It’s like a kid being dared
to walk into a pitch black tunnel. That moment of decision when you look
into the tunnel your mind races and processes thousands of things at once.
There is so much to see in darkness.
How
much positive came out from your studying Fine Arts at Carnegie Mellon
University?
(Laughs)
Well, I’ve learned a lot about financial aid and how to bullshit about your
work. As a school it exposed me to different types of art and showed me you
don’t necessarily have to be talented to be an artist as long as you are
able to execute a concept successfully. My biggest issue with school was
that there was too much talking. The school was heavy on the concept side so
it allowed for three hour studios where you look at the same slides from the
year before and hear the same story with a different bias. The highlight of
the education is one of my professors, Martin, who I really enjoy talking to
and admire his skill. The unfortunate thing is that he was only there for my
last semester and I didn’t have the chance to take another course with him.
Did
you have any professors or some of your colleagues or students that were of
assistance to you?
Well... yes
and no. It’s an art school so everyone has their own opinions and everyone
is creative and everyone wants to tell you the way it is so you get to
choose your own flavor. The good thing about art school is that you can get
feedback from students and professors. That is the first thing I missed
about not being in that environment. It really means a lot when someone
takes the time to talk to you about your work in progress. It helps you see
it a little better and motivate you for the next move.
Are
you afraid of isolation?
I always
hope that I will fall into a state of such isolation that I would have
nothing else to do but paint. That would be bliss! I think I would be able
to produce more than I do now and give every ounce of myself to creating.
When
you paint to you see yourself as a young artist?
I see
myself as an old soul making young art.
Do
you see yourself becoming a successful commercial artist?
I see my
work as a statement of my generation and I see it developing in front of me.
I’ve gone through many phases in my work and have only recently isolated
that thing that all of my pieces have in common and that has been very
enlightening. I can only see myself maturing and getting better and better.
I don’t plan on quitting so now is the time to buy!
Why
did you decide to move from Pittsburgh to Washington DC? I can understand if
your decision was to move to New York City or Los Angeles, but Washington DC
is not really art center of the World...
Now I
know. I just wanted to get out and live elsewhere for a while. See what it’s
like being away and starting new. The art scene isn’t so bad. It isn’t New
York or London but it has its interesting spots. I think DC is heavier on
the street art and a lot of it displays in galleries here. I look at
Washington as the next step. There will be another after this one, and
another after that one, until I get comfortable.
Email
us Let us know what you
think.
Features
Return to the features page.
