4-year-anniversary of Dara Pictures – A small gallery of Dara’s work


1)Opening of the Exhibition “End of Year Sale” @ art bv Berchtoldvilla, Salzburg from November 4th to December 14th, 2017

2)Dara Zindovic (2012): Untitled, acrylic on canvas, 40 cm × 40 cm / 15,75″ × 15,75″

3)Dara Zindovic (n.d.): Untitled (Triptychon), acrylic on canvas, 30 cm × 30 cm (11,81″ × 11,81″)


Untitled (2001)

This is one of Dara’s great masterpieces made with oil. A number of geometric elements in white, purple, blue and red and in various states of matter are dispersed over fragile textures in yellow. Influenced by abstract expressionism, street art and the work of Cy Twombly the painting seems to depict a showdown of a polycentric happening both at its major peak and its slow dissolution, thus showcasing one of Dara’s major themes, the process of becoming and fading away of things. Dara Zindovic (2001): Untitled, oil on canvas, 130 cm x 120 cm / 51,18” x 47,24”

Blurred City View on a Sunny Fall Afternoon

From 1994

Study in Circles


On this painting from 2008 Dara explores a differential spatial distribution of circular elements. Voluminous circles serve as the background for a gathering of colorful micro-circles that becomes increasingly dense towards the painting’s center. In spite of the loose and playful arrangement that does not seem to follow strict formal rules the painting deals with the theme of contrasts between large and small circles, the center and periphery, watery vs. strong coloration and the exciting visual effects that result from the overlappings of the eclectic elements. Dara Zindovic (2008): Untitled, acrylic on cotton paper, 57 cm x 75 cm / 22,44“ x 29,53“



These two paintings are a tribute to Venice. The focus shifts from the mere presentation of a complex city landscape to the interesting interplay of the town with the expansive, endless sea. The works highlight the beauty of the city and also deal with the city’s precarity by being located next to the sea. The sea itself has the role of an amorphous dominant force that must be contained from drowning the treasures of the town, but on the other hand also has a complimenting role as a canvas that reflects the sparkling city lights.

Dara Zindovic (n.d.): Untitled, acrylic on canvas, 120 cm x  120 cm / 47,24″ x 47,24″

Dara Zindovic (2009): Venice, acrylic on canvas, 100 cm x 100 cm / 39,37″ x 39,37″

Urbanism Gone Wild

Wow, what a tornado of impressions! The works presented in this posting belong to some of the most complex compositions Dara has ever made. On them countless fragmentary units are joined together to form a larger, highly differentiated polychromatic entity. The paintings may be seen as an artistic memory of her old hometown Dubrovnik. Like many coastal towns that rest on hills its famous view is characterized by ascending rows of houses. On the paintings the structure of the towering elements is raw, wild, unruly, chaotic, there is no consideration of a planned and linear orderliness as is usual in town planning. The bits and pieces appear more like tags arbitrarily applied on a wall and are put together in a collage-like manner. The works show an appreciation for urbanism, fragmentation, density and the sparks that fly out of such a lively mixture.

Dara Zindovic (n.d.): Untitled (acryl on cotton paper; 57 cm x 75 cm / 22,44“ x 29,53“ each)

Flower Triptychon, June 2017

Dara Zindovic (2017): Untitled, acrylic on cotton paper, 72 cm x 7 cm / 28,35“ x 2,76“ each

Triptychon (2014), Part 3

Dara Zindovic (2014): Untitled (part 3 of a Triptychon), acrylic on canvas, 23,62″ x 19,69″ / 60 cm x 50 cm

Triptychon (2014), Part 2

Dara Zindovic (2014): Untitled (part 2 of a Triptychon), acrylic on canvas, 23,62″ x 19,69″ / 60 cm x 50 cm

Triptychon (2014), Part 1

Created in early 2014 this triptychon by Dara celebrates the richness of earth. The vast brown surfaces on the paintings are surrounded by different sectors in warm colors that are divided both in vertical and horizontal manner. The outlines of the different parts are winding and curved which is an acknowledgment of provisionality, incompleteness and imperfection. The winding contours are also a symbol of sensuality, a quality that is reinforced by the reappearance of the motif of the golden line to which an own series of paintings has been dedicated. The triptychon anticipates later works that deal with the Sahara desert or present otherworldly arrangements against a sequence of soft and mellow colors. Some of the latter mentioned works are currently on display at the art bv Berchtoldvilla Salzburg. Since each part of the triptychon can stand as a work in its own right, we will publish each painting in an own posting.

Dara Zindovic (2014): Untitled (part 1 of a Triptychon), acrylic on canvas, 23,62″ x 19,69″ / 60 cm x 50 cm