Immediate and short-term judgmental forecasting:
Personologism, situationism or interactionism?
ZT Tosha’s work “Post Guardian Period” suggests that our behavior is determined by the situation and not by some internal traits:
• we do that which is expedient at the moment
• we respond to the moment and not based on a collection of traits
Zoran Tosic a.k.a. Z.T. Tosha a.k.a. Tosha was born in Mostar, of the former Yugoslavia. Growing up in Mostar with its diverse physical geography as well as traveling extensively throughout his youth, Tosha’s childhood memories are filled with the beauty and power of nature, natural disasters and forces of circumstances, many of which continue to shape his repertoire of motifs: earthquakes, volcano, ice, gravity, fast-moving water with powerful waves and long rapids.
Tosha attended the “Fine Art Academy” at University of Sarajevo, Bosnia and Herzegovina from 1982 -1987. Whilst studying at the Academy, Tosha began to incorporate sounds into some of his works. His sound sculptures were recognized as acute and original by the organizers of “Yugoslavian documents ‘89”. The organizers included his work in the international show as well as the subsequent publication featuring the most important artists of Yugoslavia.
Drawn to Abstract Expressionism and sound installation in 1989 Tosha left Sarajevo and accepted an invitation to exhibit and leisure in The Netherlands, where he still lives today.
Dissatisfied with his pictuers, Tosha sought to develop a music based in every day sounds, Bird Song and Sound of Alarm; Tosha’s artistic experiments in destabilizing the frame of reference were very opposite of the “single-meaning” of his exhibitions at the time. While his “Sound Sculptures” article emphasizes sound resonators, some of the combinations of vibrating elements, energizing agents and modulating devices his paintings motifs at the time were both contemporary scenes, which placed him close to Abstract Painting, and copies of Modern Master paintings.
ZT Tosha has explained that he alters his abstract paintings ‘much more often than the representational ones. They often turn out completely different to what he’d planned.