By using his own image in paintings, photographs, and digital collages, he produces an art of signs, an art of discourse, questioning the effects of visual images on the usual perception of identity, history and culture, and testing the implications of the use of these images for the art system and the models of perception of artworks as such. The subjectivity he demonstrates is not simply taken for granted but is already “deconstructed, taken apart, and shifted, without anchorage”. It is rooted in language and effective in the realm of the symbolic. In his work, he places his self-representations at quite a distance from the psycho-biographic realm, which would be just visualized. As Roland Barthes stated, the life of the author cannot be considered as “the origin of his fables, but a fable that runs concurrently with his work.” Autonomism and Populism In 1994, Uroš Đurić wrote, together with Stevan Markuš, a manifesto entitled “The Autonomism Manifesto”. It was written in February and March 1994, and published as a leaflet, to be later included in the catalogue of their joint exhibition, held in Pančevo in June 1995. “It was created to reduce to a minimum the possibility of shallow stories about our painting”, stated their text of the Manifesto, referring to the history of its own making. Going back to the experiences of the local historical avant-gardes, namely, Zenitism, whose manifesto these artists not only quoted in their own manifesto but even claimed to repeat, they looked for a way to avoid being listed among the “urban section” of “figurative painters”, following the “other line” of former Yugoslav art, who institutionalized those practices within the histories of neo-avant-gardes, of neo-constructivists, conceptual and process art movements, considered to be tendencies of “radical”, as opposed to “soft” modernism. They also did not feel quite comfortable with the concept of “monumental intimism”, which placed them amongst the authors active in the “interspace between high art and the underground”, with Đile Marković and Zoran Marinković, in the close proximity of authors such as Daniel Glid and Jasmina Kalić. Their use of images was more denaturalized than those of the artists who were reputedly stylistically close to them. Their relationship with the “underground”, on the other hand, was on the level of repetition of visual samples that were part of the imagery of empowerment, but in a context that was not the context of subcultures