Sebastijan Dračić is another one of those younger-generation Croatian painters, whose work draws plenty of attention lately. His specific artistic expression
builds a nearly immobile, quiet frame that captures a mystical atmosphere caused by someone’s recent departure or uncertain presence
Dračić’s work – portrays his preoccupation with interiors as a reflection of a certain state, as well as a place of subtle commentary.
Dračić’s spaces do not evoke real place; on the contrary, melding real and imaginary segments intensifies an impression of a dreamlike atmosphere, which
draws the viewer into intense, often amazing spaces of some nameless presence, something that eludes the sight, but not the feelings. There are number of
possible referential foundations on which these imaginary landscapes can rest. And the very title of the cycle points to one – The beginning and the end of the world.
The forest of monumental proportions reflects its life in the singularity of each tree, and vice versa. Just as a tree cannot grow if its roots are not well embedded in the soil,
a man cannot exist separately from the environment that maintains and shapes that existence. It is a vision of an individual and the universal experience of life,
and the worlds in which they interweave.