Anto Kajinic   " A train is running choo choo and then one dog climbed on the other dog and then he pushed in his tail and another dog watched it and a man also watched it and it all happened where a tree is and the sun is shining," 300 x 2000 cm, January 1997 (detail) ( Phot.Mio Vesovic) A NOTE FOR ANTO KAJINIC On the white walls of the Zagreb's Gallery "Miroslav Karljevic" painter Anto Kajinic with the utmost condensed strokes has drawn figures full of double meaning . He arranged them completely spontaneously: somewhere they are on the bottom, somewhere on the top, somewhere in the corner, and then almost in the middle of the white foundaton of the wall. Not only by arrangement but also by its appearance these drawings irresistibly remind on Child's drawing. At the same time they, in the utmost precise way, delineate artistic uniqueness of Anto Kajinic, more accurately his attitude towards object of painting. The object is always in the middle of the path, somewhere between total negation and clear presence. The object is, to be true, always on the picture. but is always brought to the edge of recognition from where it can easily slip in to the nothingness of the foundation. Contours of the figures give impression of condensed child's imagination. It is easy to enumerate inventory of Kajinic's utmost modeled figures hurnan being, tree, house, animals. But act that so convincingly separates Kajnic from other painters, and not only from his generation, is his performance which figures do not become dominating subjects of the picture. Figures are rather part of the world of self-denying creatures who don't want and probably can't subordinate the space of the painted field to their scale. These are fragile, vulnerable, ruinous, week creatures from the existence filled by child's dreams. If we ask ourselves where they come from and where, these figures, singes almost, actually end, we can conclude that they belong to that degree of optical dematerialization of the world of objects in which figures melt to formulas full of double meaning. But, such a disposition is contrary to the nature of Kajinic's art that rise from the complete freedom colloquially known as spontaneity and unboundness. Such painting is born from an impulse that is pushing from the depths of imagination, from the period of author's earliest consciousness. Stripped of program, firm concept and any kind of rigid logic, Kajinic's painting is in its essence non-descriptive. It doesn't reproduce elements of the physical and it is not willing to expose hidden extensiveness of authors imagination. The pictures rather emanate primary energy that has just started to shape story, scene or gesture. Exactly on this exhibition obvious is presence of energy because the pictures are literally freed from bodies. The figures are Just emerging, they appear for an instant on the nothingness of the wall surface. It can be said with many reasons that this author articulates vastness of his pictures and drawings with a sheer impulse. Effects of coincidence or some ritual game are certainly playing very important role and can be found on each evel of work either iconic, structural or literally material, what is obvious the free combinations of the figures. Spontaneously resisting each rigid system this art is in some way resisting any completeness. Choosing the fragment for its basic principle Kajinic's painting validate itself as authentic trace of our time. Zvonko Makovic