Petar Stanović expresses himself through “gestures” of ideological and avant-garde inspiration, driven by a simple and direct concept of “action” that accompanies every project—from the sword driven into the pavement of the Gothic church of Santa Maria Alemanna in Messina, to the golden, orientalist portal disguising the entrance to the Rocca Sforzesca in Imola, to his numerous temporary installations featuring flat, non-stereometric color accents disassembled like De Stijl plates. He deconstructs vision through the shifting of planes. Ultimately, his chromatic definition of architectural components engages public space with aims that are never decorative, but purely structural.

His practice originates from architecture, embracing the building as an ongoing process rather than a finished product. The eidetical dimension where his ideas germinate carries an unmistakable avant-garde momentum, tied above all to the Soviet utopias of the early 20th century—a historical period in which architecture held a preeminent role among the arts in every revolutionary process. He develops his research in relation to the Suprematist ideal and its philosophy, establishing a physical and structural debate on Malevich’s painting, the architectural construction of space, and pure color allowed to flow as a pulsation, metabolised within a conceptual dimension distilled by a zeroed time.

The artist deconstructs vision through the shifting of chromatic planes. This is the very essence of utopia which, passing from painting to the third dimension, engages him in actions that restore the offset, perceptually disorienting logic of the interior of Suprematist Planits. This design momentum within the concreteness of the world dissolves Euclidean form through density, sharp plates, and dynamics that reveal a desire to fluidify space. What emerges on the surface is the signifier, the ideational level, which transforms structural tensions into pure chromatic events. Fluidity, fragmentation, and an open, dissonant non-stereometric absence—a perfectly calculated gamble—are ideas clearly drawn from Suprematist models. They point directly toward the concept of Utopia: not as a semantic redefinition, but as the initial, reactive phase of an active visual process.