Florijan Mićković (1935–2021) occupies an important position within the modern sculptural tradition of Bosnia and Herzegovina, where his work established a continuous dialogue between material, form, and historical circumstance.

Educated in Zagreb during a formative period for post-war modernism, Mićković developed a sculptural language grounded in the physical and expressive possibilities of natural materials, most notably wood and stone. His works reveal a sustained engagement with mass, rhythm, and internal structure, often balancing abstraction with subtle figurative associations that evoke organic growth, human presence, or symbolic archetypes.

Throughout his career, Mićković demonstrated a remarkable sensitivity to the inherent character of material. Rather than imposing form, he allowed the grain of wood, the resistance of stone, and the traces of cutting, carving, and perforation to remain visible, becoming integral to the sculptural expression. Colour, when introduced, functions not as ornament but as a structural and conceptual accent, emphasizing internal tensions, gravity, and the “core” of the form. This approach situates his work within a broader modernist context while preserving a deeply individual voice.

The trajectory of Mićković’s practice was profoundly disrupted during the 1990s, when war not only slowed his artistic production but resulted in the loss of his studio and a substantial body of work prepared for a major solo exhibition. Today, much of this period can only be reconstructed through fragmented and often damaged documentation. Yet Mićković’s post-war activity stands as a testament to resilience and creative persistence.

Across decades, Mićković’s work articulates themes of endurance, transformation, and continuity. His sculptures do not seek monumentality through scale, but through concentration and inner coherence.

— Curatorial text adapted from critical writings by Tonko Maroević