A Pause Beneath the Pines

Medium: Oils on stretched canvas frame

Dimensions: 400 (H) x 300 (W) 

Availability: Available

 

 

Before the Beach Wakes

Medium: Oils on stretched canvas frame

Dimensions: 400 (H) x 300 (W) 

Availability: Available

 

 

The Tipsy Pine of Brela

Medium: Oils on stretched canvas frame

Dimensions: 400 (H) x 300 (W) 

Availability: Available

 

 

Vila Ruza and the Stone that Sleeps in Blue

Medium: Watercolours on stretched canvas frame

Dimensions: 400 (H) x 400 (W) 

Availability: Available

 

 

Stillness Beneath the Pines

Medium: Oils on stretched canvas frame

Dimensions: 400 (H) x 300 (W) 

Availability: Available

 

 

Where Shade Meets the Sea

Medium: Oils on stretched canvas frame

Dimensions: 400 (H) x 300 (W) 

Availability: Not Available

 

Brela Stone Sleeping in Blue

Medium: Oils on stretched canvas frame

Dimensions: 400 (H) x 300 (W) 

Availability: Available

 

Portrait of Slavonski Brod Mayor 

Medium: Oils on stretched canvas frame

Dimensions:400 (H) x 300 (W) 

Availability: Not available...humanitarian work for NPO (M.Duspara)

Construct of Reality - Sanjaš?

 

Brnic, T. Hidden Truth of The Life. 2026. Oils on reinforced canvas. (500x1000x40mm)

 

Brnic, T. Sanjaš?. 2026. Oils on reinforced canvas. (500x900x40mm)

       Brnic, T. Passage Through Fragments. 2026. Oils on reinforced canvas. (400x900x40mm)

 

 

Commissioned Portrait

 

Commissioned Portrait

Medium: Oils on stretched canvas frame

Dimensions:500 (H) x 400 (W) 

Availability: Commissioned in 2025

Vesna

 

Vesna

Slavonski Brod, Croatia

Medium: Oils on stretched canvas frame

Dimensions: 455 (H) x 605 (W) x 40 (D)

Availability: Available

Vila Ruza

 

Vila Ruza

 Brela, Croatia

Medium: Oils on stretched canvas frame

Dimensions: 460 (H) x 360 (W) 

Availability: Not Available

Echoes in Chrome

  

Echoes in Chrome

 Brnic, T. Reflections in Chrome. 2025. Oils on canvas. (1300x900x40mm)

Gifted in thanks for a magical loft construction by my builder, featuring his prized 1978 Suzuki.
(A heartfelt tribute capturing the challenge of rendering intricate reflections and the timeless allure of vintage machinery.)

 Reflections Cast

Sava River, Croatia

Medium: Oils on stretched canvas frame

Dimensions: 610 (Height) x 840 (Width) mm

Availability: Commissioned in 2023

(Emphasizes the act of reflection and the liminal space between the self and the external world.)

 

Under the Gaze of the Quiet Mountains

 Golf Course, South Africa

Medium: Oils on stretched canvas frame

Dimensions: 510 (H) x 1100 (W) x 25 (D) mm 

Availability: Commissioned in 2010

(A poetic reflection on man’s attempt to shape nature, always under the watchful, timeless presence of the mountains.)

Transcendence through Discomfort – In the wake of the Swallows

 Transcendence through Discomfort – In the wake of the Swallows

(Salt Pans, Botswana)

Medium: Oils on stretched canvas 

Dimensions: 1520mm (wide) x 500mm (high) x 35mm (deep)

Availability: Commissioned in 2022 

A wide, cinematic composition of Botswana’s salt pans at dusk transitioning into night. This commissioned piece features a baobab tree silhouette and a motorcycle, evoking both solitude and motion, memory and journey, under vast open skies. “Salt Pans of Botswana,” capturing that profound journey beyond comfort and the emergence of new self, like swallows at dawn

Jozi 15

 

Oils on stretched canvas...1520mm (wide) x 500mm (high) x 35mm (deep)... 

Jozi-13

Medium: Oils on stretched canvas frame.

Construct of Reality Collection

      

Just as there are no places without the bodies that sustain and vivify them, so there are no lived bodies without the places they inhabit and traverse (Casey, E. 2009: 25).

Construct of Reality:

In my research, I explored the work of Photorealist painter Richard Estes as a lens through which I examine my own artistic practice. Estes captures fragmented urban scenes, often using photographs as reflections of the visual and perceptual reality around him. This process resonated deeply with my own practice, where I translate the three-dimensional world into a two-dimensional painting. I use photographs to freeze moments in time, reflecting my personal reality, experiences, and thoughts.

This study didn't aim to make new claims about Realism or Photorealism but rather synthesizes key ideas to better understand my own approach. Central to this exploration is the concept of “the construction of reality” — the interplay between what is “real” and what is perceived, especially in the way reflections and distortions shape our understanding. For both Estes and myself, painting becomes a way to transform fleeting moments into something lasting.

By analyzing a selection of Estes’ urban scenes, I contextualized my own painterly process. I then broadened the discussion to include various art historical and theoretical perspectives on Realism and Photorealism, culminating in a dialogue with my own work, which represented a personal construct of three-dimensional reality in two dimensions.

As an artist, I move through the world in quiet dialogue, observing, absorbing, and translating it into image. Photography and painting become twin mirrors, each reflecting a slightly different truth. Through the lens, I am able to still time, to catch the glint of a moment the eye alone might miss, its fragments, textures, and quiet distortions.

I turn to my own surroundings: the familiar streets, rooms, shadows that echo something unspoken. Capturing them with photography is not enough. I return to them through paint, reconstructing each scene with intent, not to replicate, but to make sense of them, to recognize them anew.

In halting time, the photograph offers a strange kind of reflection, one that reveals both presence and absence. What we see becomes what we remember; what we remember becomes what we create. This collection is rooted in the construction of reality, not as something fixed, but as something endlessly shaped by perception. A tension between what is seen and what is sensed. Between the world as it is, and the world as it becomes through the act of seeing.

I have been wandering through the idea of a journey, a search for utopian spaces, imagined or remembered, tracing the contours of heterotopic, liminal realms: thresholds suspended between presence and absence, here and there. 

Hetherington (1997: 49) reminds us that the weight of heterotopia does not rest in the spaces themselves, but in the roles they play, in how they mirror, distort, or disrupt the world around them. These in-between places hold a tension, a quiet, creative friction, where history brushes up against the present. My own works linger in these spaces: reflective, layered with memory, caught between past impressions and unfolding now. As an artist, I absorb the external, the fleeting, the flawed, the tempting, the mundane, and transmute it inward, into meaning, into form.

Perhaps artists themselves reside in a kind of utopic threshold, a liminal state of becoming, forever navigating a space of transient reflection, neither arriving nor departing, but always moving.

 Brnic, T. Autonomous. 2017. Oils on canvas. (1300x900x40mm)

The car as a liminal mobile space reflects on the quiet residue of displacement. Combining installation and self-portraiture, the work traces a personal journey through time and place, where fragments of the past linger in constructed space, both real and remembered. Here autonomy is not independence, but fragile illusion of direction in a landscape of dislocation. The absence of a figure, coupled with the overwhelming visual data of urban reflections and mechanical design, speaks to the artists own sense of dislocation and reassembly. This is not a painting of a car. It is a painting of navigating absence, the ghost architecture of belonging. The shattered almost cubist angle of the car interior merges memory and machine. 

 Brnic, T. Serenity in the Mundane - An Interior Heterotopia. 2019. Oils on canvas. (1300x900x40mm)

Centers on the healing and grounding nature of everyday ritual chores, a metaphysical presence, visually exploring interior/exterior space and self-reflection. The tiled walls whisper in their reflection of the everyday.

                             Brnic, T. Push Happy Pills - A Heterotopia of Surreal Confrontations. 2018. Oils on canvas. (1300x900x40mm)

Explores the tension between outward composure and internal unrest. Fragmented imagery and layered brushwork reflect the pressure to present a curated self, while quietly questioning the rituals we adopt to cope with modern life.

Brnic, T. Window Shopper - Urban Reflections. 2019. Oils on canvas. (1300x900x40mm)

Investigates themes of reflection, a heterotopia of urban nostalgia and fragmented identity. Construct of reality through self-insertion and manipulation of urban imagery, particularly Johannesburg’s skyline. Creating a space of transition, illusion and multiple realities. This piece juxtaposes multiple incompatible spaces in one location (the external urban skyline and the interior of a storefront). Creating a ripple in reality where rules end, identities shift and the familiar becomes strange.

Brnic, T. Relucence - A Reflective Heterotopia. 2018. Oils on canvas. (1300x900x40mm)

Explores the philosophical concept of 'relucence', the reflective interplay between life and the external world. Drawing from Heidegger and Vinegar's interpretations, the work emphasizes that the world is not separate from the self but intertwined through visual and experiential reflection. Like Foucault's metaphor, the use of reflection captures an elsewhere, the world seen and felt through the self. The viewer is welcomed to peer into the eternal now, where the world gleams back as a construct.

Johannesburg skylines

I do a variety of Johannesburg skylines in oils on canvas. Send me an email to artytech@gmail.com if you would like a quote.

Baobab - 001

Medium: Acrylic on Canvas

Size: 600 (Width) x 400 (Height) x 40 (Depth) mm

Braiding Time 

Medium: Oil on stretched canvas

Dimensions: 450 (Height) x 610 (Width) x 40 (Depth) mm (Available)

Amidst the signage, textiles, and daily bustle of the heart of downtown Johannesburg, a moment of stillness emerges—two women immersed in the quiet ritual of hair-braiding beneath a tropical mural. Captured from my car window, the composition reveres the everyday poetry of street life: the palm tree mural, the layered signage, and the serene grace of routine care. Braiding Time invites the viewer to pause, noticing the beauty that rests within the noise—a poetic contrast to the urban intensity just beyond the frame.

In Dialogue – Johannesburg at Dusk

In Dialogue – Johannesburg at Dusk 

Medium: Oils on stretched canvas frame.

Size: 765 (Height) x 1020 (Width) x 40 (Depth) mm.

Urban Hinge 

Medium: Oil on stretched canvas

Dimensions: 450 (Height) x 500 (Width) x 40 (Depth) mm (Sold)

I love the intensity on the drivers face. It captures that which we all feel while driving downtown. Set at the Metro Market–Taxi–Bus station in downtown Johannesburg, Urban Hinge captures a city in motion, pedestrians flowing past totems, vehicles in pause, and layered signage suspended between eras. Framed from within a red car, the composition becomes a threshold: a hinge between observation and participation, between stillness and the kinetic energy of the everyday.

(Sorry this piece is Unavailable- 

if you would like a commissioned piece feel free to contact me)

Crossing Points 

Medium: Oils on canvas

Size: 1 500 x 520 x 35mm (Available)

A panoramic study of Johannesburg’s skyline from a transient vantage, where vehicles blur past in the foreground, and the city’s monumental presence stands steady beyond. This work captures the dual rhythm of movement and stasis that defines the urban experience, inviting reflection on our place within the ever-shifting cityscape.

Lone search in Baluli

Medium: Oils on canvas
Size: 1 500 x 520 x 35mm

(Sorry this piece is Unavailable- 

if you would like a commissioned piece feel free to contact me)

Thresholds Reflected

Medium: Oil on canvas

Dimensions: 600 (Height) x 900 (Width) mm

Commissioned

Absent Presence - Liminality In Dialogue

Medium: Oils on canvas

Size: 1 500 x 900 x 35mm (Not available)

Engineered Reflections 

Medium: Oils on stretched canvas frame
Dimensions: 900 (Height) x 1 300 (Width) x 40 (Depth) mm
Commissioned by Dr Wynand Van Der Merwe

(Sorry this piece is Unavailable- 

if you would like a commissioned piece feel free to contact me)

Sandton Skyline

Sandton Skyline - Monochrome-01

This is a first in a new series of monochrome works of the Sandton Skyline in South Africa. 

Medium: Oils on canvas
Size: 1 270 x 510 x 35mm