Back in the 1980s, Slobodan Knežević wrote: "It has become clear to me that my preference for analysis and elimination, as I see fit, of all inessential elements from the visual plan of the motif is in fact my creative process, my artistic preference and a vital characteristic. I feel that what I have to say as an artist can be expressed in the relationships between the surface and the rhythm of the lines, which remain the basis for the visual existence of the object, following wholesale elimination. I saw that I constantly tended to discover in an object that I take to be a unique visual and functional entity, what might be the motive behind my thinking when setting about the visual representation of that object." Clearly, the young artist, then at the outset of his creative adventure, came very early on to a full awareness of his creative processes, going about the reduction of his art consistently and with determination. The earliest drawings from his student and early post-academic career show a wide range of interests, from elegiac interpretation of memories of home and his birthplace, a few works showing a Baconesque concept of figuration, all the way to the melancholy scenes of student rooms, dominated by lines that sprawl freely and independently across the paper without attempting to incorporate themselves in any precise way into a meagre setting of a scene. All these drawings, however reduced and brought down to their essential content and visual structure, show a profoundly experienced autobiographical record, and are therefore the true visual sublimation of all that happened in the artist’s life up to the beginning of his creative activity. A small series of coloured felt pen drawings dating from 1976 represents the peak of Knežević’s early-acquired minimalism. Pure abstraction and a geometric, non-referential linearity dominate the drawings. Therefore, from the safety of hindsight, they may be considered a very special occurrence in the atmosphere of Serbian art of the time, as they are conceptually closer to the universal postulates of the "new tendencies" (Knifer, Srnec, Šutej, Picelj and others), than to the geometrical logic of the gradual reductionist process of the Belgrade "Decembar Group" (Ćelić, Protić, Tomašević and others). Although at this time of prelude the young Knežević’s reaction was simply intuitive, it rapidly became the launching-pad for his further authentic visual art and graphic work.
Read more: Sava Stepanov: Slobodan Knežević – The Art of Harmony and Balance