Uroš Paternu developed his recognizable and unique visual language in the nineteen with the theoretical interpretation of his own creative process, which is characterized by artistic analysis and systematization.

     The artist sees the act of painting as a way to harness his thoughts and to ground the objects and the world around him on the basis of a dialectic relationship between the spiritual-conceptual and the physical material, which is established by transposing the concrete empirical matter into its visual articulation. This passage from the physical to the spiritual, from immanence to transcendence, from observing to seeing, from reflection to catharsis, starts with the first stroke of the brush and lives on in the viewer's perception.

     Although abstract art is an embodiment of the artistic freedom of expression it remains bound within the laws of the painting media. The fundamental structure of each and every painting contains the author's concentration, sensitivity, contemplation, and experience, which are inseparable from it and trickle through its layers as a contemplative mystery which the viewer discovers gradually, not at first glance, but through a process of perception, creative inspection and growth.

     The basic and most active agent and content of the artistic creation of Uroš Paternu is the color in all its range and dynamics, attitudes, and relationships, in violations of the rules and freedom from them with an inner depth and visual form. More than the expressive or emotive expression of the morphological elements of the creation, Uroš Paternu favors their contemplative, universal side.

     He never uses colors as an empirical, associative, symbolic, or evocative visual element, but rather eludes the mimetic and referential framework of perception. In color, he searches for its dematerialized nature which is a creative process that becomes a carefully thought-out composition, an echo of the artworks that resonate in the viewer's perception and gives the impression of being a vibrating living organism.

     His approach to the bare canvas consists of a ceaseless quest for new solutions, as if »hunting for prey« during which skill, deep concentration, and determination are the decisive factors catching the eye of the spectator with an independent and perfected visual reality.

     The paintings come into being with either thoughtful or impulsive strokes, with smooth or rough applications of paint. The perceptive depth is created by sophisticated spatial cuts, color metamorphosis, internal segmentation of the color field, and overlapping layers of color, from underneath of which allusive images from the deeper strata surface into existence.