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Land art


Creative elaboration of the historic vegetable garden of the Sixto Castle in Jakovlje 2016/17

The project started in the fall of 2016 in Jakovlje, during a gathering of artists for temporary artistic interventions in the garden of Adel Sixt Castle, which was organized by colleague Alen Novoselec under the name Garden as a space of creativity.


When talking about Arcadia, we speak of it in terms of a historical and idealized land, a wild landscape, which E. Panofski refers to as the land of extinct pastoral culture.
In the Hellenistic age, Arcadia was the mythological homeland of the god Pan, who spent his idyllic days playing syringe on Mount Menalus.
The inhabitants of Arcadia were also extremely musical and famous for their ancient origins that go back to the very roots of the origin of the human race on earth.
It first became an idealized mythopoetic place in Latin poetry – in Virgil’s Eclogues, in which, in addition to being described as an idyllic, carefree and primordial place, Arcadia assumes an elegiac sense of transience in this earthly Paradise …
Owing to literature and fine arts in which it has been varied countless times, this myth takes on the meaning of a place of general happiness and ideal life. However,  this mythical and poetic Arcadia is nowhere in particular – it exists everywhere, and the search for it began long ago and continues to this day in the form of wandering and hoping for a better and happier place to live.
Arcadia has been recorded in our collective memory as a pastoral idyll in the Holy Groves. It could thus be interpreted as the the Primordial Land, the Earthly Paradise, the ancient homeland of gods and people.
But the underworld of Arcadia is also the place where the god Chronos, who introduces the dichotomy of life and death into this idyll, is captured.

In the 18th century, the notion of Arcadia is associated with the place of idealized longing and nostalgia among the privileged intelligentsia, who went on to write poetry filled with melancholy and the spirit of reminiscence, which first appeared in Virgil’s elegiac sense of transience as the opposite pole of the ideal image of eternal happiness.
Just as the entire world rests on polarity, i.e., on the harmony between male and female principles, between good and evil, Eros and Thanatos, growth, decay, and re-growth, we encounter in the ideal Arcadia the notion of death, whose presence is given by an epitaph on the sarcophagus … “Et in Arcadia ego” – a famous phrase whose correct translation has puzzled many …
While we also find numerous iterations of this message in the Baroque, the most famous and notable examples of it are two paintings by Nicolas Poussin, especially the one from 1637 entitled Arcadian Shepherds, who, leaning on a crumbling stone, pensively muse upon the engraved message “Et in Arcadia ego”.

Even in Arcadia Death announces its presence in the form of ominous “memento mori” – (I too am present in Arcadia).

Garden as a creative space:

Every period interprets the myth of Arcadia in accordance with its worldview and style.
Upon the first visit, the castle in Jakovlje and its neglected garden left the impression of an idyllic and untroubled place, as well as an elegiac sense of transience.
I understand “Et in Arcadia ego“ as both a warning and a new hope because the cycle must end in order to begin anew.
Thus, even a neglected garden can once again bloom, flourish, and wither again.
Et in Arcadia ego (2016/17) is a piece created in the park of the castle in Jakovlje.
A stone with a carved inscription joined by a mirror representing an entrance into the world of plants.
Having changed its environment, the inscription carved into a piece of stone acquires a new meaning, while its reflection in the mirror deciphers it.

(Preserved in photographs, graphic prints, objects and videos.)


Creative elaboration of the historic vegetable garden of the Sixto Castle in Jakovlje 2017.



Geometry of nature – specific growth of flora and fauna world is an inexhaustible source of inspiration. Similarly, the number of possible combinations and variations on the theme that is the current subject of my research is vast and boundless.

I decided to use the specific natural growth of a plant form to continue telling the story of the fascinating geometry of nature, while also including these specific shapes into the structures that I build from natural materials (Shapes-spheres) that occupy my attention.
That is why I use natural colors (beetroot, saffron, turmeric, nettle, onions) and natural materials.


Park as inspiration – Chandelier


Participation in the project Land art, Earth Art, Earthworks: z/Zemlja and anthropocene 


Participation in the project Land art, Earth Art, Earthworks: z/Zemlja and anthropocene  II, Ozalj, Obrež Vivodinski