His personal style is formally abstract, yet fundamentally nature-oriented and inspired. His interest lies in exploring the thin line between known and unknown, figurative and abstract, associative and the lack thereof. Although unintended, the motives are not instantly familiar, it is the title of the work that turns them back to associative field of different natural structures, sometimes of botanical and animal origin. He finds beauty in strangeness as well as in commonly accepted beauty ideals.
Those pieces are usually referred to as “The cabinet of curiosities” or “Wunderkammer” and presented as a small group of clay sculptures, under glass cloches or on a pedestal with a clear reference to a taxidermy presentation. Unlike smaller “table” pieces, his wall-mounted reliefs, although sharing the same aesthetics, are inspired or rather influenced by his upbringing. Monumental Yugoslav memorial sculptures are deeply imprinted in his handwriting and that experience never leaves him. The form is organic and plasticity of used materials gives a sculptural polish. The process of making and sculpting is not hidden and his gestures and fingerprints are visible and palpable. Drawing exists as a strong contour that builds and defines the piece.
It is always present, dark, strong and it varies from parallelism to a free, almost baroque structure of thick organic lines.
He uses repetition in order to create a vivacious linear shadow play, which adds to an overall dynamic. The lines range from very long to very short almost comma like, and he uses them to edit the chaos and establish order in his composition. The colour pallet is subdued, and not primary in his work. It varies from neutrals to vividly grassy and watery green and lately, hints of cold greyish and dark blue.
Colours are never raw, always modulated and toned down to let the form speak for itself. He uses thick paste as well as liquid and see-through paint in order to define the depth of the field. All accidental elements, such as spills and drops, are strictly controlled, and all pictorial elements are intentional. His work begins as product of a very long contemplation and thought, while the gesture varies from long and calm to a short and frantic.