GALERI PAROBROD, Kašetan Mišina 6, Belgrade
In her painting cycle Pillars of Time, artist Mirjana “Mira” Milovanović leads us through a visual and spiritual landscape where past and present, the material and the elusive, order and freedom intertwine. These paintings are not mere representations of architecture, but its transformation into symbol, thought and emotion.
Architectural forms—traditionally understood as witnesses of permanence—take on a new dimension in Mira’s work. They no longer function as rigid systems, but as living bodies—subject to emotion, change, inner upheaval. Their contour dissolves, and meaning shifts from the external to the internal.
In her expression the pillar is not just a supporting element of a building—but a metaphor for time that flows, remembers and reshapes reality anew. Through layers of paint and strokes of line, Mira’s works animate what once was solid, but now hovers between meanings. Space is no longer static—it pulses, breathes, speaks in silence.
Abstraction allows her to transcend the boundaries of form and enter the realm of pure feeling. Instead of imitating reality, Mira transforms it into a poetic language of memory. Fragments of architectural forms act as echoes of past epochs—simultaneously clearly recognizable and strangely foreign, stripped to their core yet emotionally rich.
In this cycle there are no rules, only rhythms. Geometry is no longer rigid but suggestive, open to the play of chance and intuition. Colours radiate not as decoration but as traces of inner states. Everything is fluid—as if the paintings are not finished compositions, but moments in eternal movement.
The series Pillars of Time does not offer answers nor set boundaries. It offers space for reflection, an introspective walk through imaginary structures that belong more to a spiritual landscape than to actual space. These paintings are like memories that do not fade—they change shape, retain their essence, yet are reborn.
Mira does not build, she transforms. Her pillars are not grounded in the earth, but in consciousness—as verticals of memory, feeling, silence. In them one senses a powerful need to preserve what time erases: the structure of the soul, the architecture of dreams, the supports of identity.
This exhibition reveals the power of abstract art to unite the rational and intuitive, the external and internal. In Mira’s work the viewer does not stand before the painting—but enters it, moves with its rhythms, and in that movement discovers his own past and present.
The Pillars of Time are not static forms—they are currents, signposts, witnesses. They are an artistic attempt to preserve what is ungraspable yet vital: the spirit of time, the trace of emotion, the shadow of presence.
