What preoccupies Žernovski is the phenomenon of the multiplication of identity, not only that of the Other but also of I, the decentring of the social subject, the re-figuring of the I and the Other dichotomy which grows into a conflict or – if you wish – a dialogue, this time in the context of the global versus the global. He is concerned with the conflict between the dynamic and the changing I, on the one hand, and what Spivak calls “the hopelessly static” Other that is still locked in the frames of the groups of the so-called Great Three (race, class, gender). The author uses this conflict as an exhibition tool. By reflexive representation, deconstruction of his perceptions of his own identity and those of the others, the author explores the process of ghettoisation, his own Utopian systems and social identifications, particularly in relation to the local political, cultural and psycho-social circumstances.
Žernovski decides to produce a figurative and visual structure fitted with elements of various density and energy charge in order to dynamise the narrative process. The use of the pop art palette, silver glaze, colours applied, in flat layers are references that successfully outline the author’s fundamental preoccupation: the individual and artistic integrity in the global world. His visual aspect clearly integrates the Warholean style of understatement, which calms down and depresses, contrasted with an emotionally dense verbal narration.
In Žernovski’s works videos, photographs, images, objects, drawings, on the one hand, and text and visual poetry on the other, give rise to independent messages that flow in parallel without disturbing each other, and eventually intertwine in the comprehensive yet still open entirety that communicates with his previous works through quotations, forewarning that futureness might somehow be superstructured. (from the text by the curator Mira Gacina)