A drawing is probably man’s first gesture and effort, older than alphabet, lost record in a sand and preserved in a cave as a message, oath and prayer. And today, on its way to the picture, sculpture and house, it is most often the first direct note of an idea that strikes suddenly like thunder into the head or heart and then the hand “lands`` that idea as a clear indication of man’s creative power. Different from sculptor or painter’s drawing, we could say that the sketch includes some higher “responsibility” because it has different purpose and is not a self – purpose. It is an “initial primer” which through a whole system of development leads to a house – a three-dimensional object. Therefore, due to the character of its origin and sense and purpose, it differs essentially from others, that is the painters’ drawings. It struggles for the final fraternity of space and matter.
We can notice a specific hierarchy in the architectural drawing. Paper assumes classical determinations. Parts are in perfect harmony with a whole. Instant perception is possible. Drawing does not recognize individual but general. Energy is its theme. Treated perhaps as an “incidental product”, the architectural sketch is not exhibited as drawings of painters and sculptors are. It very rarely decorates apartment walls. The author himself does not give it as a gift to his friends like painters and sculptors do. So, he does not attach importance to it the way painters do to there drawings. It often “lives” until the first thorough clean-up of the studio and or the bureau itself.
He published several thousands of texts about art such as fine arts reviews, analytic and research texts, reviews of books on art and his interviews with the most eminent local and foreign artists, historians and theoreticians of art (Rene Block, Herald Zeman, Edward Lucy Smith, Gerald Mat, Daniel Libeskind and Bonito Oliva).
He published his texts in many dailies and weeklies like Omladinske Novine, Polet, I Ti Rece, Borba, Republika, Nin, Evropljanin, Status and Vecernje Novosti.
He is the author of some ten exhibitions, starting from the exhibition of Matija Vukovic’s small plastics in the Gallery of the Belgrade Youth Hall in 1979 to the Fazan exhibition in Chaos Gallery in 2003.
He was a member of many juries like for the Borba reward for architecture in the period from 1992 to 2002, Association of Art Historians of Serbia for the best exhibition in 1997/98, the International Biennial of Graphics “Dry Point” in Uzice in 2005. He took part in many television and radio programs on art and preservation of the Belgrade urban memory.