Nikola Ljubojevic's camera preferably captures in nature and human creations, what is revealed like a kind of weave, structure, the trace in substances. Grids, wires, sets in stone walls, rows of graves, the transposition of the treetops or iron armature toward the sky ... these are all kind of nets in which caught time rests. Because, if it can be said for the photography or art in general, to seek the path beyond temporality, transience - then it is all the more truer for such emphasis on the structure of fenomen. It is applied consistently, whether it is a stone building or transience such as discarded packaging and dynamics of natural elements. With Nikola Ljubojević even a ripple of water can harden, make it more heavy, such as solid brass. Water motives, truly, sometimes just explode around the figure of swimmers, denying instantly and patiently creation net of surrounding pictures: they carry something else, knowledge of a wild existence. Igor Čulig
Galerija ULAK, 2000. Mreža za hvatanje vremena
Kamera Nikole Ljubojevića najradije bilježi u prirodi i ljudskim tvorevinama ono što se razotkriva ko svojevrsno tkanje, struktura, trag u tvari. Rešetke, žice, slogovi kamena u zidovima, redovi grobova, preplet krošnji drveća ili željeznih armatura spram neba…sve su to svojevrsne mreže u kojima počiva uhvaćeno vrijeme. Jer, ako se to može reći za fotografiju ili umjetnost općenito, da traži put onkraj vremenitosti, prolaznosti – onda je to utoliko istinitije za ovakvo naglašavanje strukturiranosti fenomena. Primjenjuje se doslijedno, bilo da je riječ o kamenoj gradnji ili prolaznostima poput odbačene ambalaže i dinamike prirodnih elemenata. Kod Nikole Ljubojevića, čak i mreškanje vode može očvrsnuti, otežati, solidno poput bronce. Vodeni motivi, istina, katkad upravo eksplodiraju oko figura kupača, poričući u trenu strpljivo građenje mreže okolnih slika: nose ono drugo, nepripitomljeno saznanje postojanja. Igor Čulig