We began the first trial on paper. In our own space, we laid out all the works at their planned dimensions.
The gallery installation started with a test of the overall sizing—each piece needed to be considered in relation to the others.
That test confirmed that the works conceived at maximum size appeared monumental even on paper, which validated their readiness for execution in final materials.However, some works that were initially conceived as smaller “gallery format” pieces stood out during the trial and called for rethinking their scale.The second level of testing focused on color. After months of viewing the works on screens, we had to determine whether their printed, 1:1 versions held up in terms of color fidelity, sharpness, and detail?
The third level dealt with positioning—how each work related to the next. Every piece carried its own unique tone, atmosphere, and palette. Many had distinct textures, with specific reliefs and material layering. Each precious element needed to be placed thoughtfully within the space.
For some artists, the work on the work continued in the gallery after the installation.
Nicole’s work had 74 special elements. While we were thinking about transportation, it became clear that there is no sufficiently safe packaging and transport vehicle that would transport such fragile work to the location without the risk of breakage. Nikola had to apply the final layer on site in the gallery. He was one of us that day. That dedication to work made an impression on the people at Grafix.
Mića Stajčić, Simonida, Miša Pavlović, combined illuminated-illuminated, only illuminated and only illuminated. While we were thinking about the works, we did not take into account the exhibition and its important factor lighting, however, the space allowed us to freely combine lighting and lighting for each work as needed.
