An interview with artist Naod Zorić by curator Natalija Đuranović on the occasion of the exhibition “Quintessence of Bone.”

N.Đ: In your art, which speaks of collective identity and heritage, you connect the past with the spirit of contemporary times. How do you interpret the duality of past and present in your paintings?

N.Z: They say the past is time that has already happened. Every memory is individual, including mine. Yet, it is also tied to collective memory. I sense that my past and present are nothing more than blood flowing through me. And the milk I was nourished with is not just food for a crying child but also an element of the future. Everything I have received—what I have lived through, read, seen, and smelled—I believe is merely a continuation of continuity, both in my overall personality and in the reflection of myself in my painting, in this time and in this moment.

N.Đ: How does the philosophical approach in your painting manifest through the depicted figures and the emotional connection with the viewer, as well as through the expressiveness of those characters?

N.Z: The philosophy of my art is the Soul. It was breathed into me, passed from mouth to mouth. It lives in my throat, and I know where it comes from. I have never thought about how the viewer perceives my painting. For me, painting is the meaning and joy of my own life. I am deeply impressed by the Montenegrin man, by their character. The ancient loneliness and suffering of this rugged land have refined their spirits. They are proud and dignified, humble only before God, aware of life’s transience. A constant struggle, frequent deaths—this giant, both man and woman, asks nothing of the heavens. They only know that they must return their soul to the skies. What an expression…

N.Đ: To what extent can art, as a spiritual force, help a person transform their daily life and discover a deeper meaning in their reality?

N.Z: Art is timeless—it is as old as humankind, if not older. It is not of this world. It is unique, alive, an individualist, and as such, it is character—it is a unique imprint. It is both medicine and a path to true meaning, to lasting values that humanity must prepare for.

N.Đ: Light plays a key role in revealing hidden details in your paintings. Is it essential for achieving the desired atmosphere?

N.Z: The sun—I believe it is alive. Sunlight protects us from darkness, from gloom and evil. Art without light becomes pitch black—utter darkness. And I have heard that such darkness exists only in the great depths of the black earth.

N.Đ: You are a painter for whom drawing is the primary means of expression and the foundation for discovering colors, which enhance the effect while achieving harmony between form and content. The line appears and disappears, marking and emphasizing only essential elements before fading into the surface of the painting, much like a landscape.

N.Z: My paintings are colored drawings. I believe drawing is the foundation. You can learn to paint, but you can never learn to draw if it is not given to you. Painting does not require much color. I draw from deep emotions, using my mind, convinced that I possess a sense of visual art. What I draw must have a scent. A drawing must not be precise, learned—it must be convincing, artistic, and confident. Drawing is my Light.

N.Đ: Through a modern painting approach in conveying universal messages and as a guide to Montenegrin tradition in the contemporary world, your art compels us to reflect both emotionally and intellectually on the themes you choose. What do you consider key to this ability to inspire deeper thought?

N.Z: I admire the Montenegrin man so much that I bow to him like a saint—one who, with immense awareness and without fear of the price he might pay, defended his personal freedom, his land, his wife, his children, and the faith he was devoted to. These are the most noble human qualities—love and sacrifice. And they did not even have enough bread to feed themselves properly.

N.Đ: Your drawing uses colors derived from natural pigments, characteristic of the earthy hues of the mountains. This emphasizes both the warmth and character of your figures. Does using such authentic colors deepen and convey the meaning of your messages even further?

N.Z: I love natural colors—earthy tones, as I call them. They carry thought, and, it seems to me, a style and an attitude. Somehow, they fit that character. I believe that color can deceive, which is why I dislike excessive brightness and garishness.