Serbian painter and conceptual artist Radomir Damnjanović Damnjan was born in Mostar in 1935, and completed his painting studies in Belgrade in 1957. He moved to Italy in the early 1970s, where he continued to develop his artistic language of forms under the influence of contemporary media and conceptual art. Damnjan’s work, flourishing over the course of more than sixty years, was characterised not only by heterogeneity (in the best sense of the word), but also by a great diversity of genres and media. In the 1980s, he experimented with the re-interpretation of traditional schematic compositional forms such as the still life and the self-portrait, ultimately introducing these “uniform” surfaces into his paintings in a manner which Italian critic Tommaso Trini referred to as “blots, emptiness and completeness”. These still lives and portraits, painted on floors and walls, can be viewed—in the spirit of post-modern referencing—as the “new pointillism”.