„… In his early works Jandrić was already leaning towards abolishing the division between painting and sculpture and towards the object as his logical medium, and made it clear that his way of thinking pushed the artistic boundaries. In his later works the artist has taken sculpture beyond the usual art vocabulary, striving to enhance it with universal meditative aspects and use it as a unique embodiment of the objective, ideal and abstract world.
Jandrić's early definition of sculpture as a set of contradictions is related to his insistence on its universal value, spirituality and contemplation that he has always included in his work. His formal and intellectual analysis of sculpture, first in the language of geometry and then in what he himself calls theometry, as in fact his entire artistic and theoretical work focusing on sculpture, may be provisionally described as sculptometry…“
Mladen Lučić
„Speaking from experience, one must be cautious with Vedran. Behind his charm and wit, there are serious questions waiting to be answered. Perhaps it would be better to say that he speaks of serious things in a charming and witty manner. If and to what extent his final project will resemble the computer model is not really decisive. Vedran's art is strikingly conceptual in nature, which is why its physical existence is important, yet not crucial for its reception. Nevertheless, at the symbolical level, he retains the auratic concept of a unique and unrepetable artwork based on manual work…
… At the first glance, one might conclude that the author has actualized one of the classical artistic genres – the self-portrait. Even though fulfilling the mimetic standards, especially by using video and photograph, which offer a possibility of faithful reproduction, Vedran's interest has not been to represent his own figure. Instead, his intention was to portray himself in a sort of cultural and social manner, here and now. Even though his work reflect more or less his personal situation, the first-person narration can be considered a rhetorical figure (pars pro toto). The emphasis on his artistic status as an identity leads to a sort of paradox – his loss of personality.In some imaginary transformation of Vedran's art into traditional portraiture, the result would probably be a schematic description, whoch would not insist on any individual specificity. Where is the trick? Vedran's work speaks about reception rather than creation; he is interested in concept rather than form, in notions of art and the artist rather than a particular artwork or a specific artist…
… Through his procedures of parody and deconstruction, Vedran analyses and demystifies the universally accepted values, institutions, and institutes, disclosing their aspects of manipulation and interest, Thereby he spares no one, directing his criticism at himself and the world of art, the media and politics, and the so-called 'common man' or the spectator/observer alike…
What divides our artist from self-righteous postmodernist cynism is his genuine critical attitude towards the social reality, which is not manifested through pseudo-activism. In order to change the world, one must primarily raise the awareness and interpret the mechanisms and values on which it rests…“
Božo Majstorović
