Miodrag Jankovic is a son of a migrant family who sought a better life in a foreign land. This did not turn out to be a better life for a teenager who was brought up on a diet of adventure playing amongst early Roman architecture, gypsy music, a colourful country and even more colourful characters, full of passion for life.
Instead he was confronted with conservative lifestyles in endless suburbia, constantly subjected to racism and bullying.
It was these elements that were the starting paint of self expression through painting and drawing.

In all his works he employs a primitive vocabulary of blocky, cylindrical and conical forms, none of which is purely geometric. His best painting (and here I’m thinking of ‘Rear Window’ and the two called ‘Urban Landscape’) are those in which he assembles these forms so as to produce slightly dated industrial landscapes.

Jankovic likes to emphasise the divisions between forms not just with thick lines but also by abruptly changing the direction of his strokes. Like the choppy pools of scudding strokes which underline the conjunction of certain forms, these features all embody a weight of personal feeling. They almost make sincerity a tangible thing.