Post-konceptualno doba vratilo je estetiku u umetnost, pa samim tim i ugođaj, tj “zadovoljstvo u slikanju”. Narcis to postiže na svojim slikama suprotstavljajući ugođajnosti forme (raskošni kolorit i vatromet ritmova) neprijatne i teške narative koji imaju koren u savremenosti, u “našem svetu koji nije naš”. Osećaj strepnje i nelagodnosti lebdi nad čarobnim krajolikom koji je pozornica “strašnih faunskih igara”. Ipak, čini se da autor zauzima jedan poseban stav u odnosu na tremendum objekata bačenih u kovitlac istorije, to je ironijska distanca.

                                                                                                                                     Slobodan Tišma

The post-conceptual era reintroduced aesthetics into art, therefore the mood as well, i.e. „pleasure in painting“. Narcis achieves that in his paintings by juxtaposing the pleasure of the form itself (sumptuous coloring and fireworks of rhythms) with unpleasant and heavy narratives which are based in the contemporary, in „our world which isn’t ours“. The feelings of anxiety and uneasiness are hovering over the enchanting landscape which serves as a stage for the „horrific fauna games“. Still, it seems as though the author has taken a special stand with regards to the overwhelming objects thrown into the whirlpool of history, and as such an ironic distance.

                                                                                                                                      Slobodan Tišma  

 translated by Biljana Ačkovski Petrović