Landscape images reflect various aspects of our existence, relationships, and experiencing the world. With a deconstruction of conventional interpretations of landscapes they become speces of the photographer’s mind. The images in the photographs combine the author’s feelings in some physical space as well as the actual topography of the landscape. As pointed out by Florian Steininger for the Kunstforum Vienna edition, landscape instead of being a web of relationships between man and nature appears as a mental projection as regards how we perceive our surroundings both near and far. In such a way, landscape images are not pure documentations, but rather artworks somewhere between fiction and abstraction, metaphors of an outlook on the world and beyond.

Art critic Mario Berdič wrote in the exhibition catalog for the Metascapes series: ”The series’ title Metascapes is an allusion to the notion of metaphysics, a philosophical study of phenomena beyond physical realities, or, more precisely, of spiritual transcendence which is reflected in Radonjič’s ostensibly ‘classical’ landscape motifs that exclude any materiality, instead of giving prominence to fuidity, conveying an impression of flowing movement. In the absence of human (and animal) figures, spectators get the impression that they would not be able to physically inhabit these lands for long, given that they are merely gateways to another reality.”