VELJKO VUČKOVIĆ: Wheels that never spin: Curated by Nataša Radojević : Essay by Azu Nwagbogu

Vučković's works do not provide a wealth of data—their communicative language is multivalent. As a result, viewers are never entirely certain in interpreting the object of the painting. The fact that it does not stop at a one-dimensional message leads us through the deconstruction of existing to the construction of new dimensions. His work resides in a floating interstice between the original context and the potential for alternative interpretations, facilitating mutual approximation of potential conclusions. Thus, the artist becomes an investigator in the process of creating the painting, while the viewer, absorbing its content, completes interpretations.
The appropriation and transformation of film clips are central to Vučković's work. Revitalizing information absorbed from films, the artist is primarily interested in creating paintings capable of evoking subtle associations with social and political events.The potential for unlimited reproduction of media images in Vučković's artistic process serves as an endless source for further manipulation and technical processing.The message conveyed by each artwork is undoubtedly multifaceted. While it reveals something, it also imparts a sense of concealing something else. In a way, they can be viewed as what Umberto Eco termed an 'open work.' Therefore, the composed paintings are polysemic entities concealed by a mysterious veil, rendered using a monochromatic, muted, and somewhat anemic palette.