This NFTs represent physical paintings. Token owners have the option to request Endemic for a physical artwork, but in that case NFT is burned. Painting can be sent back to Endemic at any time to be minted as NFT. The provenance will be recorded in the blockchain.

Works: 

EX NIHILO 3 – PRIMA MATERIA:
“This diptych is a representation of the core in which all life that exists is compressed. Prima Materia is an ancient concept that signified the phenomenon of ubiquitous emptiness that is the basis of matter or the state that precedes existence, something we can call today the dark matter that pervades the Universe, and thus our little scientifically measurable conception of reality. The sages associated this primordial substance by comparison with the Soul of the World (anima mundi) which is interpreted as the intrinsic connection of all beings on the planet.
All life originates from the same source, from the same ancestor, and if we looked farthest into the past, we would see that all matter in the Universe originates from the single source, a singularity that has expanded into space and time with an unimaginable explosion. Horror Vacui as a compositional principle, anachronistic aesthetics of sequence of motifs and filling of space, is associated with the medieval ornamental bestiary, but also with the modern physics of quantum fluctuation of the vacuum field.
The work can be multiplied and rehearsed in all directions, and theoretically an image of infinite dimensions can be created.”


EX NIHILO 4 (Us) / EX NIHILO 4 (Them):
“A painter in front of an empty canvas is almost scared of careless or wrong beginnings. This problem is annulled when one starts shaping the Idea on the white surface of the canvas. Art comes from the Idea, form the mental projection and it seems that it was there before being transposed to the canvas. Tomasovic in the cycle entitled Ex nihilo is coming back to the roots of the traditional painting and is concentrated on the questions of origins, of the space in philosophical, metaphysic and creative sense.  
Tomasovic connects the old subject of the dialectical debate primarily to the idea of artistic creation, although we can contextualize the problem in the framework of theology, philosophy, physics, metaphysics, esotery, science, sociology, logic, psychology… The context is always in question. 
That categorizes him as one of the artists that question the order and harmony of aesthetical principles and that shape the message of an artwork on a mimetic level. Therefore, Tomasovic implements the concept of mimesis as his guideline. This idea of painting without thinking and planning much in its basis owes something to illuminated medieval manuscripts and to prehistoric decorations of Celtic and continental European traditions. Tomasovic is in his paintings trying to answer the question of the beginning of the beginning. Here, in his cosmogony we can see also horror vacui. Therefore, he, like a medieval painter, ﬁlls the canvas with interweaved creatures and develops his imagery that would be a good case study for a Freudian or Jungian analysis. The artist emphasizes the opacity of the multitude of ﬁgures, and the endless repetitions without a discernible beginning or end; he negates the frame of the painting in order to negate the border between the real and imaginary. He expands his compositions endlessly so as to create alternative models of the origin of the world, to create a new reality outside of history where the passage of time is static. Among chaos and order in the universe, Tomasovic is trying to ﬁnd some kind of connection and harmony. 
This work, with its attached pair, can create work of boundless dimensions through repetition.”



EX NIHILO 5:
“Ex nihilo is not only a pictorial, artistic project, but also an intellectual quest focused on the universal questions, very important in the context of the relationship of science, industry and genetic engineering today. 
Tomasovic oﬀers an alternative that is seemingly surrealist, however, here we can talk more about a new Mannerism realized as a discursive answer to the realisms and the art scene in general. Historically speaking, Mannerism was a reaction to the ﬁgural and spatial objectivity of the Renaissance, its coherence and order that led the art then to perfectionism.  
Mannerism introduces a certain unrest and dissolution of Renaissance’s harmony, it introduces perspectival extensions and reductions, an escape from linear perspective, frontal lighting, symmetry and golden ratio, and partially it strives for the come-back of the Medieval horror vacui. Together with the playful, accentuated colorism, this fear of the empty space is one of the characteristics of the paintings of Tomasovic, full of miniature animals with anthropomorphic features. “



EX NIHILO 9:
“Tomasovic’s paintings resemble the fantastic world of Hyeronimus Bosch, the imagery of phantasmagoric symbiosis of ﬁgural shapes of Arcimboldo, they resemble horror vacui we can ﬁnd in El Greco or Tintoretto, while his ornaments, sort of artist’s modus vivendi, get him further of the aforementioned masters of Mannerism in the direction of the Renaissance painting of Paolo Uccello and Piero della Francesca. Mannerist inﬂuence has been visible in the art of Salvador Dali, Max Ernst and Ives Tanguy in the last century, so it is not unusual to ﬁnd indications of this style in contemporary art. However, to look surrealism in Tomasovic’s art it is important to grasp his whole imagery, with its minutely painted fantasy creatures of herbal and animal origins, that have some human features. With their movements, interweaving and magically symbolic positioning they evoke surrealist painting. They open a miraculous, imaginative and lucid world that we discover in details of authors’ compositions that are obviously nor representing reality as such, but suggest indirectly a possible past or future of the world. “



EX NIHILO 10:
“Today, when genetic engineering is taking over natural biological functions of people, controlling our oﬀspring and dictates our nutrition, we cannot be sure of anything. If we believe in this kind of science, we do not know what mutations led to the emergence of Homo sapiens, and we do not know in which direction multinational corporation (that control the processes of genetic engineering) will end the story of human species. We are getting closer and closer to world of Alien, and we do not even know at this point if we originate from it. However, despite this pessimistic context, paintings and objects of Tomasovic communicate good vibes and act as if they jumped out of the Wunderkammer of a sweet-tempered alchemist. Their compositions are mysterious in the iconography the artist uses, but their atmosphere in general is cheerful and lighthearted. This atmosphere is realized not rarely with humorous portraits and caricatures of his real and imaginary characters, and their symbiosis. Even if we look at the Romanesque bestiarii, that the artist takes for his reference they do not look so scary today as they looked to a medieval Christian who was to look at the depictions of hell inside and take it as a reminder to lead an honest and humble life as prescribed by the Bible. Today, when we look at these groups at the entrances and pillars in the cathedrals, we can see funny images that would very diﬃcultly be able to warn us of the atrocities of hell and serve as corrective in our daily lives. The most important aspect here is therefore the context and time from which we are looking at something and this is something that the artist is trying to state, he namely enables us to interpret his artworks freely without constraints of his personal cultural or artistic worldviews. “


EX NIHILO 12:
“Tomasovic’s canvases are developed on the basis of dynamic symmetrical composition that have their pictorial and conceptual frame outside of the canvas itself. This is connected to the concept of horror vacui, and simultaneously recalls medieval ornamental bestiary, ancient Epicurean philosophy and contemporary quantum physics. On metaphysical level, these artworks represent a personal metaphor of the universe derived from an artistic Idea. Human- and animal-like ﬁgures represent a connection of the spiritual and material spheres, and in their complexity and preciseness they reﬂect the author’s perception of the archetypal images and his spiritual state. It is obvious that he is not the ﬁrst to deal with a topic of this kind, e.g. Lucretius in his De Rerum Natura concludes that “Nothing can be made from nothing – once we see that’s so, Already we are on the way to what we want to know”, and Shakespeare’s ‘King Lear’ uses almost the same words in the beginning of the Act I when he talks to Cordelia. Tomasovic, as stated above, follows the tradition of researching the aforementioned questions and he is focused on the fact that the origin of the world is caused by the existence of something else before. Therefore, his artworks partially are very personal and peculiar, and partially belong to the tradition. 
From the personal side, although the author is aware of the causal relationships and is genuinely interested in the nature of his artistic drive, he has no intentions of answering the raised questions by force. He acknowledges the power of the artistic inspiration that can in this context be connected to the creatio ex nihilo, the dogma attached to the energies that move everything. Vice Tomasovic believes in the existence of this energy that he (sub) consciously identiﬁes as the artistic Idea that forces him not to neglect his own views of the origins of the world, cosmogony and something that often one can sum up in the collocation ‘meaning of life’.

Ex Nihilo

Ex Nihilo

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