The relationship between Art Informel and drawing has been much discussed. Art Informel, by its nature, tends to reject any intervention of the mind, it is not a painting per se, but a kind of process of creating a scene of comprehensiveness that starts somewhere outside and exists long before (Mića Popović). A drawing, on the other hand, represents intention, a skill, a plan of action. Saying it like that, it seems to be obvious that the intentions of Art Informel and drawing are opposed to each other. But now we are standing in front of the "Informel drawings" of Vera Božičković Popović, and we are unable to see that kind of inconsistency. Mića Popović has defined this phenomenon in a specific way: according to him this kind of drawing is a drawing of a painting. In his essay “An Experiment on Art Informel” he writes: Unlike the usual order of the process: drawing before painting, in Art Informel a drawing can only be created after the painting, so that painting represents an object, in some way, a model for drawing.“ It is about the new reality that was revealed back then, by new artistic tendencies. It is the non aesthetic and non persuaded art, liberated, on its own way of finding honesty, therefore, in its own risk of sinking into dark depths: depth of the artist himself, and the depth of a specific artistic thought that has yet to find its own place.
Even besides her Informel Period, Vera always lets the form to secrete, even when she is working on a figurative representation, it is like the creating of an unusual dialogue between space and form. Such artworks are carriyng an echo of inconceivable dimensions, buildings transform into clouds and clouds tranform into buildings, and the sky continues where the street ends, only the man is separated from the perfect scene, divided by his body, which cannot be folded like the form of the landscape. That is why the representation of a human figure within those works is a rare occurrence. The drawings of New York that Vera made in the eighties, could easily be drawings of any other city, if we didn't know that it was actually New York. It is because of her determination to represent the invisible reality and give the priority to ephemeral phenomena of the day and to the relationship between material and the lines (very structure od the landscape), rather than its meaning. Lazar Trifunović writes: "Everything that is real New York serves here as an occasion to enter the space with a mirror system and study all topological relationships from one internal position. Isn't that the same idea of entering the painting as the one in Art Informel?"
With the realization of the absurd, comes the idea that everything is possible. Humbly approaching the world, first of all, through ones own eyes, and awareness of own ignorance imbued with an inkling of the inner bond of everything that is visible, an artist, such as Vera Božičković Popović was, can create his own idea of dimension and leave it behind as a personal reflection, which exists much longer than physical presence.

Minja Lazareski