“On these basic tenets of postmodernism Stanko Posavec developes his style examining his creative position in this multimedial and multilayer context. It seems as if each Posavec piece of painting is embroidered into one big system built on his successive painting art affected by traditional values and his past experience. One of the elemental values is media of painting through wich he conceives this new cycle of painting confirming his creative continuity. As in his earlier opus, the color is the basic constructive element by which he makes imaginative compositions “filling” the paintings surface with new signs and other symbolic aura. In most cases, huge painting energy, creating differently shaped “fields” of blue, green, yellow and other colors “open up” along the surface, intermingling and imbuing in intensive rhytmic pulsation. It is the color, which through its forcible fundamentality and vibrant draws, curves and spirals, hits and scratches, lines and slopes, starts a dynamic relationship with differently shaped fields on the painting surface creating a firm structure of essentially organic origin.”

Milan Bešlić
(Catalogue for “Sentimental paintings II”, 2007.)

“What is Posavec´s painting like, from the points of view of the experience it gives, its content, formal morphology and technique? Above all, and in the case of each painting, it is firstly a lyrical-associative record (search) of maximal (and somehow always rich) pictorial saturation. This rich, convincing, pictorial splendour of the “accent” and “environment” of the motif (bird) is in function of the lyrical questions “if it so”, “if it were” and “if it will be.”

Vlado Buzancic (“Little Birds” cycle, catalogue, 1981.)

“So, where does it dwell, the art of an artist who obviously worked more on painting then on reputation? One may, indeed, say: “in playful imagination and creative fantasy”…His painting has no quality of an affective rictus, but of a painfully tamed forming and material energy, which is the expression of Posavec´s unquestionable sensibility, both for medium and form.”

Ive Simat Banov (“Stormy Times” catalogue, 1986.)

„Surfaces of his works are the result of the modern painting experience. So, if we single out a detail or even a bigger part of Posavec’s painting, we shall get a part of what we call pure abstraction. Usually these are stratified parts of the work. First they get imbued with paint and then vividly lined whit changing intensity. Line is an inseparable part of it all. Expressive tension comes out of the relationship between the well-balanced surface and the inconsistent line.“

G. Quien (Catalogue for „Paintings“, 1989.)

„Without disputing any of the earlier embraced premises of his art, in a magnified frame Posavec is making use of a dual aproach: spontaneity and rational analysis and, at the same time, combining association and narration, grotesque sceneries and expressively built-in chromatic scores of powerful energy radiation.“

R. Vukovic (Catalogue for „’Dialogues’ and ‘Butterflies’ „ 1997.)

„His masks are doubtlessly archaic patterns revived through internalization (individual appropriation) and a look-back which is the very paradigm of the Post-Modern art. The artist makes moves that are sensible and justified in their incoherence. His intuition tells him that in an environment like this a painting is created by neutralizing a deeper meaning, that is sliding between irony and humor.“

Z. Rus (Catalogue for „The Face od the Mask“, 2002.)

„The dialogue between sign and pulsating surface, between line and surface defined form firmness and vivid chromatic intendness creates the basic essence of a new painting cycle by Stanko Posavec. It resembles a diary from a very dynamic time, but in fact it is a logical continuation of the artistic expression of his palette so far. In composition of different color resonance and form-based tension Posavec imagintively creates visually exciting quality in which every cycle stands for a new kind of rounded singularity expressed through a collision and harmony of coatings, i. e. through a touch of its structural components.“

S. Spoljaric (Catalogue for „Messages“, 2005.)