Extraordinary world of Branco
The exhibition is held in two exhibition halls: watercolor is presented in the Cultural Centre “Mir”, architecture and interiors are presented in the D. I. Blokhintsev Universal Library.
Architecture gave Branco respect for form, an understanding of space and a sense of proportion - he did not leave this training on the drawing table but brought it to painting. When you look at his watercolour landscapes, you don't just see nature - you see the architecture of light. The watercolorist paints as few people dare - with a broad‑brush stroke, without fear, allowing the water to do its job. Its dominant colors are yellow, orange and blue, and white surfaces are never left by chance, they carry the burden of light in a way that no color can. Muted tones at the base and color accents at key locations are coloristic logic that the author applies with a lightness that looks natural but is actually carefully rehearsed. His main motive in painting is landscape - not romanticized, not idyllic, but landscape as a state of affairs, nature captured at the moment when it admits that it is. Light does not illustrate - it organizes the image. Branco doesn't do things to be beautiful - he does them to be accurate and that accuracy is amazing. The creative synthesis of architecture, design and painting speaks of a person who does not go his way frivolously, but with full awareness and true devotion.
As Branco himself admits, "Since the first day my faithful muse has been architecture and my children have been watercolors. I love to love and wait for reciprocity, although it is not always returned. Sometimes, they forget. But life goes on and we rush to meet new expectations. Talent is said to be there. Sometimes, it works for everyone, sometimes - in spite of everything. I try to keep the middle: I can’t afford more yet. The path from "jellyfish" to "muse" has been passed. There is enough color but for now, I am in shades of gray. Friends are supportive. And that's important.”
We talked in more detail about the world of watercolors with the author of the exhibition.
Branko, what exactly has kept you in watercolor all these years - what are its key qualities for you (fluidity, transparency, unpredictability, others)?
Why watercolor? This is the most honest and beautiful technique, the return of artistic beauty, like love at first sight without unnecessary "putty". This is not a game for the result but with the result, the sweetness of the risk... Move without "sins". If they are, this is no longer watercolor. It doesn't like extra footprints. Watercolor is often faster than thought: while you think, it runs to the water, from the water. Into the water, on the white... This is a special parable, a real "watercolor". Watercolor is not a rewrite, but a short respite. If you can, it flocks to you, if not, it leaks from you. As you said: watercolor is a symphony of fluidity, transparency and unpredictability. You can't just "plunge" into it for a short time: if you jumped, then you stayed...
Please, describe the process of creating watercolor work: where does it begin, what are the stages where the "magic" most often occurs and where is the most routine part?
The process of creating watercolors... This is a subtle and broad issue. I often don't understand if I'm creating a watercolour or going with the flow behind it. Mirroring its revelations, I become its servant. It seems that watercolor is an impervious technique. This is a drop game with meaning. For me, this is more than just a "sketch" job. Watercolor is iridescent, like life: while we are flowing, we feel good... Watercolour is like a child: one rough touch and it's in pain. It is at this moment that it hurts me. I try to make both it, me and the viewer feel good. Where is the magic and where is the routine? Philosophical question... Where is the border? Watercolorists have different, typical, "rolled" handwriting. Most often in urban landscapes. Sometimes, you don't understand who writes whom. Losing your voice in watercolors is not uncommon today. For it, they came up with master classes - more like cloning and not like cultivating individuality. Watercolor is a path for strong, individual people. It loves the smell of risk. Rewriting is unnecessary caution and uncertainty. I try not to change the magic into a routine. But the path to magic has not yet found... although there is also routine magic...
How has your watercolor work been influenced by the cultural or geographical environment, the places where you have lived or travelled?
I am a passenger, not a "serf". Your question is about the whole conscious creative life and its code meaning. I have driven a lot. But I stayed in few places. Born in a family which Russia was closest to. Serbia is still the best daughter of Russia... It is impossible here without "vaccination": a little vaccinated, a little welcomed. I live according to Tyutchev's recipe: do not understand with your mind, but love. Someone said that being defines consciousness. It doesn't work here. Russia is an environment without an end of the horizon. It's easy to get lost... I've been breathing here a long time. Sometimes watercolors, sometimes architecture, sometimes I feed on interiors. Tried to be nourished by the eastern and Arab world... not mine. All this geography in beauty and to the knee does not reach Russia and it's time for us to understand it! Yes, there were travels but they did not affect. Only the first and last station remained as the only influence on my increase and not increase.
What typical features of watercolors do you encounter (for example, control over the spread of paint, errors that cannot be erased) and how do you meet them?
Different moments - yes! But I don't know how typical they are. I'm not a watercolor professional. I look at everything as an architect, not as a watercolorist. The roots are probably from there. Watercolors are warm consequences. It's cold here without them... I try to keep my watercolors with "delicious sins". Nowhere without them. So far, I'm losing watercolors. Control over the overall picture is still needed: watercolor loves a hidden line, a border of paint, a dry zone - the kingdom of water, crumpled white... Who controls whom? Sometimes, water controls everyone. These are mutual feelings... and water has a soul.
Do you use any non-standard techniques or materials in watercolors (salt, film, dry brush, masking liquid)? Tell us, please, about the most unexpected effect that you have got.
I don't have a standard technique, everything is non-standard. I saw and heard the answer to your question here in Russia. Each artist has his own "sourdough", a recipe. It is interesting and useful to recognize them. But you have to have your own. I take ideas for watercolors from the world of architecture, watercolors are like silent prayer. I love a dry brush. This is the brightest way to catch water! I love dialogue, a duel of water with paint and the territory of "white". In watercolors, untouched white is the brightest paint. Judging by the questions, you are an in‑depth connoisseur of watercolor... About the most unexpected effect? From the very beginning to drying out, watercolor is filled with unexpected moments. This is a meeting of water islands with clouds, a spill between drops without the right to make a mistake from the first to the last. The world of experience for saving light and color. Probably, this is the "watercolor world", it's fine there! You have been there...
Which of your watercolor works seems to you the most "telling" about what you want to convey to the viewer?
What a painting? Watercolor loves a whisper, silence, a silent touch. I learn from waterfalls: they show how to fall beautifully! I hope this can be seen in my works. If to choose water, fire or copper pipes, I choose water. Of course, and also the sky... but it is the sky. Waterfalls are a separate realm. They speak more beautiful than everyone. The answer to your question is in them... I would also like to quietly bring the beginning of my watercolor parable into them. Each of the gallery visitors will finish it himself. The last straw is always behind the visitor.
Does it happen that initially you conceived one mood of the painting but in the process, it changed quite another one?
Of course! Watercolour is all about constant searching, flexibility, intercept and mood shifting both inside and on paper. In the process, you offer your own and on paper, it comes out its own... Compromise without a clear point. The last laugh is for watercolor. Sometimes, for me...
If you could describe your artistic language in three words, what would they be?
In three words? Probably "with three fingers"! The first is watercolor. The second is architectural. And the third is interior. All from the same soul.
How do you feel about modern trends in watercolor painting? Is there something that is categorically not close to you?
You touched on a key topic today. I think artists should be donors. Now, there are manifestations of tasteless selfishness, permissiveness, unoriginality! Conceit as weakness has not yet been canceled, categorical does not help. But I learned not to like the tasteless. So far, watercolors have less filth than other disciplines, and more beautiful squares!
If we talk about perception, the gallery visitor and dialogue with art - what do you think is the most important for the gallery visitor to "read" from your works?
The visitor is a treasure of the meaning of our creativity! I try not to put an order, not to put a point in my watercolors, but to leave a comma. The visitor himself will determine where he goes next. You said about the dialogue, and the whole point is in it! I would like the visitor to read from my works: it was worth talking to them. See. Watercolor is not facade communication, it spills much deeper. I would like the visitor to understand what I wanted to say, and to find it in my watercolors and not only...
Tell us about the exhibition, please, that is preparing to open in the Cultural Centre “Mir” and the Universal Library. Why will it be located in two places at the same time?
The exhibition is called "With three fingers": watercolor, architecture, design. It is not easy to put everything in one room - in the hall of the Cultural Centre, for all its coziness... I made a decision (or dreamed) to be so. It would be nice to exhibit works on architecture and design in the library... You fulfilled my dream. The universal library is delightful. For an interesting show and friendship. A beautiful hall, courtyards as platforms for debates, heart‑to‑heart dialogues on the topics: "Watercolor waterfalls", "Where do bricks go?" "Interior - pajamas of architecture, or...”
And one more question - do you have a dream project in watercolors that has not yet been implemented? Please, describe it.
Yes, I have. I started this project called "Letters from Russia" with friends. Six of us participated in the exhibition in the Republic of Serbia, in my homeland! In the capital - the beautiful city of Banja Luka! I would like the project to live a long time. And so that he moved here, to Russia, to Dubna. To bring here "Letters from Serbia". If we don't go down that road... other people's letters will be brought to us. We already read a lot of them... Especially, young people. Dubna is a city that has long been over the horizon. I am sure that it is here that it can collect "our letters." JINR has never forgotten about culture! And atoms have a soul! I fell in love with Dubna right away! Since it pampers its citizens, no city in the world pampers!
P. S. Thanks for the pleasant conversation! Good questions are said to be half the answer. This time, it helped me. Thanks for the sensitive topics and the professional walk through them. You spoke to a man who has spent his life trying not to be an artist for fear of a poor life! After years, I swapped bricks for a brush. I'm yours now!
Interviewed by Member of the RF Union of Theater Workers Eleonora YAMALEEVA,
Photos from the personal archive of Branko NEDIMOVICH