The relationship between an image and an inscription is not a new subject in art. However, the latest series of drawings and prints by Novi Sad painter and restaurateur Danilo Vuksanovic, entitled Facsimiles of the Mute, goes one step further – in so far as it starts with a letter which is no more just a language sign but also becomes an artistic entity telling a story in the realm of the visual.

Danilo Vuksanovic’s art cycles have never lacked carefully thought out contextuality. His creative circles, semantically charged, have collided and added onto each other throughout the years, frequently intertwining in the process. He placed conceptual antecedents of his future cycles into deep thematic grooves of previous cycles, so that he could harvest a full yield in his later works. Inclined towards pregnant creative endeavors, with renaissance-like richness, philosophically contemplative, poetically sensitive, and skillfully inventive, Vuksanovic has more than once pushed away his boat from rightfully earned, comfortable safety, under the auspices of excellent art techniques, and has boldly directed it towards other, yet to be seized, artistic horizons. Upon return from such voyages, he has continued to embed all collected omens and cognitions into the matrix of his artwork without hesitation. He performed this on at least two levels.