The cycle of his works entitled “Forbidden melody - Isolation as artistic inspiration” was created in 2020 after returning from an art residency in Berlin, but will continue in 2021.

As Vedran says: “Return to the peaceful reality of a home studio, as also the winter tranquility of Liburnia and the lack of artistic activities prompted me to create a series of works inspired by SILENCE. In addition, the pandemic, which came dangerously close to us and completely locked us in our homes and minds, further directed me to combine silence with ISOLATION”.

Through these works, Vedran talks about the atmosphere caused by the corona virus, about his captivity within the “four walls”, the state of mind and loneliness; he invokes self-observation and questions himself while searching for himself and some values ​​that we have long forgotten. In this madness of silence, isolation, caesura, silence, patience, self-discipline, anticipation, emigration and longing, he tries to find salvation and deeper meaning. Using only those materials that he found in several square meters of his apartment and in the basement, his innovative art solutions come to the fore. It gives new value and purpose to seemingly discarded materials. He recycles old window shutters, wooden shelves that serve as canvases, old books, and cigarette butts from the floor, old wires from instruments and the like. He intervenes in space in the form of installations and imaginative three-dimensional works, pushing the boundaries of our perception, forcing us to look at the world and space in a different way. Pulling us out of the frame, he shows how even the most ordinary entrance to a studio, an old bed, a concrete block, a bed sheet or barbed wire can serve as an empty painting canvas. The leitmotif of this cycle is the barbed wire that Vedran play with to depict the philosophical background of its use which becomes a universal symbol of separation, longing, alienation, tyranny, oppression and political differences even though it is primarily a technical object at the lowest level of mechanical invention. At the same time, regardless of its inconspicuousness, Vedran sees in it its formal aesthetic qualities and interpretive possibilities in order to find a way of its appropriate manifestation in the context of a contemporary work of art that would promote the current interspace as an area of ​​artistic inspiration and action.

By connecting the arts and connecting what he likes to do the most - music and fine arts, he symbolically brings together a musical notation shaped by silence, or by omission of notes, and a barbed wire that depicts the disappearance of the melody through the duration of uncertain silence. By matching the rhythm of lines with the barbs, he creates an artistically transformed vision of the musical notation. By skillfully combining musical expression and the current situation, he plays with homonyms: the musical sign of the corona, indicating that the tone, chord or pause should be prolonged, refers to the corona virus that slows down the tempo of current life. With his spontaneous simplicity, Vedran communicates with the audience through his own, highly developed and autonomous language. He uses a play on words in the titles of works and even the title Forbidden melody alludes to the composition 4'33” by J. Cage, one of the boldest innovators in twentieth-century music, in which the concept of silence emphasizes that silence does not exist.Vedran's current reality interpreted as an exception/silence that creates a new future has generated something new and aesthetically provocative - art, according to the German philosopher and thinker F. W. J. Schelling, the highest degree of human spiritual activity, the realization of freedom and necessity, conscious and unconscious, subject and object, final and infinite.