FOTOGRAFIJE U ULJU

Slikarstvo se, pored ostalog, može podeliti i na dve velike grupe, jednu koja se koristi transponovanjem vidljivog sveta, a druga taj svet ne trasponuje. Toj drugoj grupi pripadaju: odredjene vrste realizma, fotografski realizam i hiperrealizam.
Slikarstvo Milija Veljkovića u širem smislu pripada toj drugoj grupi, a u užem to je specifična vrsta fotografskog realizma sa težnjom ka hiperrealizmu, bolje reči – samo sa primesama ovog drugog.
Mili Veljković nije u potpunom smislu samouk – 4 godine je pohadjao u Atini privatne časove kod dva akademska slikara - kod Slobodana Jurića i kod Yorama Katza.
Karakteristično za Veljkovićevo slikarstvo je kombinovana upotreba pomočnih postupaka u okvirima uljane tehnike na platnu. Ti tehničko-zanatski postupci su upravo u funkciji navedenog fotorealizma u cilju što vernijeg predstavljanja realnosti, a široke bele margine, ostavljene na platnima oko slike, imaju funkciju srodnu fotografsko-realističkom razmišljanju i njegovom likovno izražajnom smislu, pasivnom odnosu prema datom vidljivom prizoru. Po takvom shvatanju slika je samo jedan 'isečak kroz prozor' ili da kažemo u duhu fotografije – koja ima značajnu ulogu u ovom slikarstvu – 'kao kroz otvor blende na objektivu'.
U pogledu svega rečenog Veljkovićev pristup se pokazuje kao dosta osmišljen.

In general, one could divide the art of painting into the two large groups. The first group transposes a real world, while the other does not. This latter sort includes: certain types of Realism, Photorealism, and Hyperrealism. In a broader sense, the painting of Mili Veljkovic belongs to the latter group, while in the narrower sense it denotes a specific type of Photorealism, with a tendency towards the Hyperrealism, and it is even better to say, with admixture of it.

Mili Veljkovic is not an entirely self-taught artist as he had attended the private classes with two academic painters, namely Slobodan Juric and Yoram Katz, for four years. Combined application of subsidiary treatments on canvas within the framework of oil technique is highly characteristic of Veljkovic's art. Those manneristic, technical and artisan principles are rather a function of aforementioned Photorealism with an aim of presenting the reality in facsimile, while «white» margins, left out around the edges of canvas, have a function that is related to photographic and realistic thinking and his artistic expressiveness, as one passive relation towards the given perceptible scenery. Accordant to such cognition, a painting is only «a segment through the window» or should we put this in the spirit of photography, which - by the way - has a significant role in this type of painting – «as through the aperture opening on the camera».

Regarding everything stated herewith, Veljkovic's approach has proven to be a highly thought out one.