LOVE POEM was Cvijanovic’s third solo exhibition at Bellwether and featured a 75-foot-long painting of Los Angeles ten minutes after gravity had failed. Houses, bungalows, lawn chairs, palm trees, surfboards, street signs, SUVs, and household debris rose and swirled fourteen feet above and nearly 360 degrees around the viewer. Cvijanovic fully imagined a supernatural and metaphorical event, rendering its impact on the suburban landscape of Southern California.

The exhibition also included a twelve-foot painting, Iolanthe, installed on the ceiling of the front room. Recalling the illusionistic frescoes of Tiepolo while extending the theme of floating domesticity in the larger work, Cvijanovic drew from the prosaic objects of his own apartment. These familiar items suspended within a painted sky evoked the sublime, playing on the viewer’s experience of looking upward toward an infinite vanishing point.

Cvijanovic employed an innovative technique of painting directly on Tyvek—the Dupont material used in FedEx envelopes as well as in new home construction. This method enabled painting to become architectural once again, as the paper could be directly adhered to the wall. With a lineage tracing back to classical fresco painting, Cvijanovic described his medium as “mobile frescoes,” a term that underscored both the portability and site-specific nature of his practice.

Through LOVE POEM, Cvijanovic merged the monumental and the domestic, the everyday and the fantastical, immersing viewers in a vision where the familiar world of suburbia defied gravity and drifted into the realm of the impossible.