He is a master of playful site-specific installations in urban and natural landscapes (whose only trace remains photography), these have addressed the audience throughout the world for more than two decades. His monumental interventions incorporate everyday objects (water cans, balls, shovels,
glasses) and transform selected locations into artistically and imaginatively provocative spaces. His installations – found across Europe, Australia, Asia, and the USA – have been created in a dialogue with local communities, tradition and history, but with a convincing turn into the unknown.
Despite almost urgent associations to land-artistic approaches, Vogrincic has never been interested in the late modernistic issue of leaving the white cube and building images in nature. Instead, he has been far more interested in incorporating the absurd, the unestablished and combining
ambiguous ideas in the Neo-Dada style.
It is no coincidence that his personal art history reference is Ben Vautier, a rather obscure Italian-French avant-garde artist from the 1960’s. In his works one can find the following elements developed further by Vogrincic: piling of various common objects, witty ideas expressed in simple sentences and anti-establishment. Or – according to Vautier – no art. If something sublimely beautiful is created as a side product, the author obviously does not mind.