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“In his paintings, the artist tries to incorporate the notion that life reflects order in encounter with chaos, and that it is embodied in the earth and its “geology”. This geology is characterized by orderly structured crystals on the one hand, and dynamic processes like erosion on the other. Referring to geological models, Majdandzic uses the interplay between geometrical forms (these forms being a metaphor for crystals) and flowing paint (representing erosion processes acting on these crystals) to generate a certain unintended picture, which resembles a potential landscape. But more than a picture of nature, his paintings are meant as a picture that mirrors the way in which our brains function. That is, the paintings form a display of simple structures from which our visual system actively constructs an image – corresponding to how our brain constructs an image of our environment from a set of basic parameters. This picture, Majdandzic proposes, is a real “intelligent design”, embodied in our bodies, by which we perceive, imagine, and understand the world. For us, structuring the space around us is essential, since our bodies have to interact with our environment. In short, the concepts or “crystals” of our minds are rooted in our bodies, resembling the way in which material crystals are rooted in the body of earth, where they can resolve and recrystallize. In both these neural and geological processes, and in the paintings, nature follows its own way (or Tao, as the Chinese call it).”