Miroslav Bilać is the poet of the horses and water. From known recognizable figures he builds his own world and shapes it to his own secret. He does not describe, although he does use a routine established figural expressing. His world is not opening, but becoming a bit of wonder syllable, which in every other respect would sound cold, dark and harsh. He calms it down, by darkening its natural sparkle but then deep from his inside, refines it, lyrically softe¬n it and making it warm. This is the alchemy which does not repeat itself and can not attribute to the earlier established relationship nomenclature.

Color is the main problem that in art of Miroslav Bilać imposes on thinking, it achieves its fullness precisely right in its own non determination, where he is expressing down to the shading and interpretation of the range in which always are halftones dominated. The color does never come out of its harmony like a musical piece which we do not have to like, but at the same time feeling surrounded and enlightened by it, even we begin to indulge this imaginary rhythm of the halftones.
This is the kind of poetical direction that the artist himself can’t escape even if it seems that his inspiration came out from some different source, although possessed by his internal aspiration for a theatrical thirst heated up sometimes to existential heat. His horses storming in a gallop or they being captured in some cataclysmic chaos, at the moment it seems that all of this begins to flow into the tough truth of denial of faith in an established relationship that by its power bursts on to the human heads, but at the same time striking strong lyrical chords full of faith, security and enlightenment in which netting we are captured.

And perhaps all this optical bipolarity of color by Miroslav Bilać leads his world reduced to the dimensions of endurance where poetry and drama conflict with each other, denying each other its purpose.But with all this, the phenomenology of color by Miroslav Bilać only indicates, hardly touching what is the structural essence of his art. He is a painter of the figurative and his theme is clearly specified. However the theme is not the dynamical bearer as a theatrical potential, the dynamical bearer in this very moment is the color. This dynamism is evident by passing over from one to another pictorial state. The color vibrates in its movement, in its internal sizing. Therefore once again we are confronting the paradox of his color treatment. Having in mind all these paradoxes from one side and his achieved visual harmony on the other side, then we may conclude that Miroslav Bilać creates driven by his internal instincts, without any rules made up in advance. His inspiration is coming out of his nature instinctively to be blossomed in to a well made pictured world for the first time met even by the author himself.

Out of his many themes, cycle of water is perhaps his most artistically tooled piece, sufficient, annexed to perfection with internal harmony and musical fullness. By this cycle his idea of existential drama was drawn up to full artistic consequence, where the nature’s organic elements, bushes and branches struggle for survival while the water, the source of inexhaustible power is discovering their existentialities to the heartlessness and emptiness. Even here his hidden poetic enthusiasm is not missing in which the true creative vocation is discovered and all this drama takes and quite obviously lyrical transparency, where broken branches become small lyrical melodies claiming soft silent smile of humanity.