Predrag Milosevic (b. 1974), was born in 1974 in Belgrade, the capital city of the former Yugoslavia (now the Republic of Serbia). He completed an MFA at the University of Arts, Belgrade (2008), where he focussed on Digital Arts and Film and Video. His work blurs the lines between Artist Film and Video and NetArt often drawing on live performance, theatre and dance, which are woven together with self-composed musical compositions and abstract digital works, which blend reality and fiction and in so doing use digital forms and moving image to create visual montages that move between virtual and physical space, reality and dream, the real and the imagined. His works have been reported to have a transformational affect in their ability to distil time and context and to plague the memory through the use of sound, abstract digital imagery and figurative movement, which combine to produce invented imaginary or nostalgic worlds that force us to contemplate ourselves and our immediate surroundings. He has made new work for commissions and exhibitions internationally including: ‘Secret Garden (2012), a new commission for the Secret Garden, a one-act ballet choreographed and staged by Sasha Evitomova, performed by Nina Ananiashvili State Ballet of Georgia —Music by Sebastian Plano and Ólafur Arnalds, presented at the Alexander Griboedov State Russian Drama Theatre, Tbilisi, Georgia; Awaking (Budjenje), (2010) an Interactive cyber ballet Directed by Bosko Djordjevic, Choreography: Michele Merola. Terazije Theater, Belgrade, Serbia; Multimedia (2009), for the 25th Universiade 2009 Opening Ceremony, Belgrade, Serbia; Winter Gardens (2009) – for the 40th International Theatre Festival of the Venice Biennale, ‘Mediterraneo’; Fantasmagorie (2008), a new commission for a film directed by Rastko Ciric dedicated to Emil Chol’s first animated cartoon, presented in Paris, France and subsequently represented again that year at the Monstra International Animated Film Festival in Lisbon, Portugal.
Encapsulated (2017), [Digital Animation on Analogue] : Encapsulated, draws on themes consistent with Milosevic’s practice, both contemplative and nostalgic, it combines digital forms, both abstract and figurative to create a unique mobile environment where human-like wire figures dance along side floating crystal formations, which are punctuated by pulsing luminescent balls of light. In this mystical Waltz of cage-like entities there is a tension that perpetuates between the lights that dim and flicker within these moving forms and the less visceral solid shells which contain them. The viewer is at once hypnotised by the interplay between the physical wire forms and their somewhat detached movements and by contrast the rhythmic pulsing of the light sources they encompass, which bring them to life in unique ways.