Adam Cvijanovic, who has been exhibiting since the mid-1980s and is now represented by Bellwether Gallery in Brooklyn, is gaining increasing praise for large-scale, deftly done illustrational landscapes and other scenes, ranging from cowboys in the West to a beach thronged with young people (he was also featured in the traveling "On the Wall" exhibition organized last year by RISD Museum's Judith Tannenbaum). For his exhibition in Philadelphia, he was inspired by local history to produce two frescoes about the city's most famous utopian thinkers -- the Quakers and MOVE, the controversial "back to nature" commune.

Adam Cvijanovic doesn't work from photographs, his invented compositions arise from the familiarity of internalised images. Using the same subject matter as Sassy Sally, Show Boat renders a smaller version of fairground aftermath. Painted in oil on board, Cvijanovic offers surrealism with a fixed visual logic. Set in a nowhere landscape, his festival remnants are made monolithic, each creating a sense of heightened spatialawareness via multiple vanishing points and extreme perspective. Rendered with the faded tones of American nostalgia, Cvijanovic envisions a ghost town of bygone delights and tawdry amusement.

Stemming from his former job as a commercial muralist, Adam Cvijanovic's paintings combine pop kitsch with the gravitas of historical painting. Completely self-taught, Cvijanovic approaches painting with an unconventional process: using a variety of acrylic and latex household paints on Tyvek, his vast images become transportable frescoes, giant architectural interventions that can be remodelled to fit various gallery spaces. Subverting the utopian connotations of monumental painting, Cvijanivic's tableaux embrace the serene and idyllic while portraying haunting scenes of desolation.

Read Entire Article about USA Artist Adam Cvijanovic paintings and artwork at The Saatchi-Gallery