The Pogačar's opus is characterised by stressed artistry being expressed through fine treatment of the painting surface, by colour shade and structural gradiations, by delination, radiation and by colourfullness. The colour has become the prime means of expression often forming the material substance of the painting in the heptical, tactile and structural sense. Stressing of the content is achived also by the colour constellation itself which is, in more recent works, most often in the specter from translucent pink via radiant yellow-orange gamma to red in all gradations.

The structural articulation is based on the alternation of thickly applied pasty layers, translucent painting portions and completely unpainted painting fragments. From time to time the author even uses, for the purpose of structuring of the painting, the collage technique applying non-painting materials or adds independently painted segments.

Zmago Jeraj is a perfectionist. The structural harmony of his photographies, performed with aesthetic relevance, seems as a precondition and the only possible start for the snap to arise at all. The search or the sudden disclosure of a situation, which corresponds with the visual context of his message, demands a quick reaction. The perfection of the artistic making gives us a feeling of a deliberate research of the fixed moment, which is only possible through an absolute knowledge of artistic measures. The majority of the photographies is realized in the black-and-white technique, with a rich list of greyness and the expressive integration of the black-and-white antagonism. He is working only with natural light irrespective of the weather and time conditions to retain primary atmosphere. His authorial way is determined by the effective presentation of the blurred contours that reduces the unimportant details and exposes the tectonics of artistic elements. The structural and signifying mesh consists of formative and building contrasts, whereby especially the dynamics of the direction of the exercises, movement and the gazes of the presented figures is obvious and which again proves the mastery of the decisive moment. Artistic affirmation which imparts a special nature to the cycle of The Crook-boasters, is probably the last one in a series of paradox evocations. With this affirmation Zmago Jeraj finally prevented lasting efforts to place his crook-boasters among plain people of our everyday life who remain average, even on carnival day, when everything could be different.

One can maintain that the biennials have mainly stuck to small plastic as a »genre«, so this is for the first time that the biennial has brought small plastic with a defined theme featuring a common artistic and creative starting point.

Thus the thirteenth biennial tends to present small sculpture featuring constructivist geometric elements, created by constructivist or concrete art in the shape of kinetic sculpture, luminescent object, etc., made from various solid materials.