Blending Technology with Art: Meet Dejan Ilić, Designer & Art Director for CGA Belgrade 2025

A seasoned artist and designer Dejan Ilić masterfully combines cutting-edge technology with artistic ingenuity, creating designs that are as immersive as they are captivating. This is why we are proud to call him a mastermind behind CGA Belgrade 2025 bold and unforgettable visual identity.

Far from merely dabbling in modern tools, Dejan wields them with precision, blending tech and art effortlessly – a perfect embodiment of everything CGA stands for. In this interview, we uncover his design journey, his creative process, and his passion for experimentation. Plus, fun fact: creativity runs in the family – his father crafted some of the most recognizable Yugoslavian brands. Trust us, you’d want to stick around for this one!

What inspired you to pursue a career in design? 

From as far back as I can remember, even before I could speak, I was imagining worlds, constructing ideas in my mind, and longing to bring them to life. My first encounter with a computer, the Macintosh II, at just two years old, felt like stepping into a doorway to infinite possibilities. It wasn’t just a machine; it was a tool that could transform imagination into reality.

My father, a renowned painter who transitioned into graphic design, was my first mentor. His works, ranging from album covers for Bijelo Dugme, Goran Bregović, Korni Grupa to branding for iconic companies and artists like Madonna, Tetra Pak, Novosadska Mlekara…. filled our home with a kind of creative electricity.

He would often ask me, “What would you add or change?” as he showed me his designs in progress. Even as a child, my input found its way into his final works. That experience, seeing something I contributed to take shape and come to life, ignited an unshakable belief in the power of creativity. My mother, on the other hand, brought abstract ideas to life in ways I could see and feel, turning school lessons into visual narratives that helped me understand the world on another level.

My brother, who studied design and art in the USA, introduced me to the realm of brand advertising and cinematic design, taking me to the USA to see the VFX works of students from his academy on movies like The Matrix, The Lord of the Rings, and Finding Nemo. These experiences shaped my creative instincts and also my understanding of storytelling as a universal language.

How did your journey lead you to where you are today?

Graduating from the Academy of Arts in Novi Sad was a transformative chapter in my journey. It provided the foundation for my growth as a designer, equipping me with the tools and knowledge to explore the depths of creativity and innovation.

Looking back, it feels as though my life has always been surrounded by what I call “creative nodes”, pulses of inspiration connecting people, ideas, and possibilities. Winning the award for my experimental poster design called “Dualism” became one of those nodes, marking a significant moment in my career.

It pushed me to explore design as more than a craft, it became a language of expression and innovation. Collaborating with Hariton Pushwagner in Norway took that vision further, as I explored how individual creativity could resonate within a global narrative.

Over time, my journey has evolved from graphic design to multimedia and digital art. Founding the Metroplex 2022.2122 platform allowed me to connect creative minds across cultures, particularly between Serbia and Japan, blending artistic philosophies and pushing the boundaries of what design can achieve.

One of the most profound moments in this journey was seeing my work SubsEQueNt displayed in New York’s Times Square after it was awarded for its innovative approach in the world of poster design, seamlessly blending physical form, video, and AR elements.

The recognition extended beyond the award, as it was also featured in a Japanese newspaper, further affirming the global resonance of the piece. Witnessing my art projected onto one of the world’s most iconic locations was a surreal moment, celebrating the universality of creativity and the boundless possibilities of merging traditional and digital mediums.

Much like creating a video game or a cinematic masterpiece, design is about world-building. My room, my workspace, and my tools, all serve as nodes in a larger system. One that reminds me that creativity is not confined by walls or screens. It’s a force that reshapes reality, and for me. There’s no greater inspiration than knowing that I can move and expand that world with every project I undertake.

What was your creative vision for CGA Belgrade 2025 visual identity? 

Designing CGA’s visual identity was like stepping into an infinite landscape, a boundless universe of visual art, programming codes, emotion, and possibilities waiting to take shape. CGA, as the Computer Graphics and Arts Conference, is inherently about transformation and innovation. It stands at the crossroads of technology and creativity, a place where the abstract becomes tangible and the future begins to reveal itself.

The starting point for this journey was storytelling. To truly capture the soul of CGA Belgrade 2025, I began by speaking with its founders, Miljana Jovović, Milica Božanić, and the rest of CGA team. Their insights were crucial, not just as collaborators but as architects of the vision. It was important for the entire CGA team to live and breathe the process. To experience the evolution of the visual identity as we created it. This wasn’t just about designing a brand; it was about crafting a shared narrative.

How did you approach the challenge of capturing the essence of the conference in the design?

The theme of the CGA Belgrade 2025 conference, Untitled., was both a challenge and an opportunity. It evokes a sense of anticipation, a blank slate inviting creators to step in and define the future.

With AI as a central topic in the world, we must touch it too, because of the purpose it holds. The design explores how technology shapes our creative landscape. AI, to me, is not an adversary but a collaborator, a tool that can unlock beautiful possibilities if guided with care and purpose. This concept inspired the identity: an environment that feels open-ended, alive with potential, and ready to be shaped by the people who engage with it.

Visually, I sought to create a sense of dynamic ambiguity, a space that feels unfinished yet brimming with possibilities. These fragmented textures are not mere decoration, they are the scars of progress, the echoes of analogue clashing with digital. In their flaws lies a rhythm, a pulse of movement and transformation. The design is alive, raw, imperfect, yet achingly beautiful. Every flaw, every burst of color, every fracture tells a story of boundaries broken and rebuilt.

It’s where the machine and the human hand converge, creating something neither could achieve alone. A signal to disrupt, innovate, and embrace the unknown. It reflects the era we are stepping into, one defined by rapid technological shifts yet undefined in how we will navigate them.

CGA’s visual identity isn’t just a representation of a conference, it’s a portal to something greater. Untitled. is a call to action for creators to step forward, to imagine, and to build the future together. It’s not just an aesthetic; it’s an invitation to engage with the unknown and redefine what’s possible. At its core, it challenges everyone who encounters it to not just observe the future but to create it.

Can you share a project or moment in your career that you’re especially proud of? 

Countless projects have shaped my journey, but Metroplex 2024.2122 Sleeping in Peace was something truly transformative, an artistic and emotional milestone. Held on August 6, 2024, the 79th anniversary of the atomic bombing of Hiroshima, the performance was not just a tribute but a dialogue with history. It was an exploration of resilience, memory, and the boundless potential of human creativity.

The setting itself, Hiroshima’s former Bank of Japan building, became both a stage and a character in our narrative. This historic space, one of the few structures to survive the bombing, had served as a beacon of recovery, reopening to facilitate withdrawals and hosting temporary branches of financial institutions. Its legacy of unity and resilience inspired our approach as artists.

Like the Bank of Japan itself, we sought to merge different elements into a cohesive whole, bringing together creators from various artistic disciplines to collaborate in real-time.

Metroplex 2024.2122 Sleeping in Peace was more than an art piece, it was a collective act of remembrance, healing, and hope. It reinforced my belief that art is not just a reflection of the world but a tool to reshape it. On that day, in that space, I felt the profound responsibility of being an artist: to honour the past, inspire the present, and imagine a better future. That experience will stay with me forever.

How would you describe your design philosophy? 

Design, to me, is a bridge, connecting the conceptual to the functional, the aesthetic to the emotional, and ultimately, the artist to the audience. It’s not just about creating something visually striking; it’s about weaving a narrative that resonates on a deeper level, transcending trends, and leaving an imprint on those who encounter it.

At the core of my philosophy lies storytelling and collaboration. Every project begins with a story, an idea, a spark, that I shape and refine through an iterative process. I approach each endeavour with fresh eyes, treating it as a world to be built, where every colour, line, and form serves a purpose.

Yet, while innovation is critical, I remain anchored to universal principles like clarity, authenticity, and resonance. A design must be more than beautiful; it must communicate, provoke thought, and inspire action.

What guides your creative process?

Collaboration is equally essential. Much like directing a film or orchestrating a symphony, design is rarely a solitary act. I thrive on the exchange of ideas, whether it’s with fellow designers, artists, or even clients. Each perspective adds depth, transforming the work into something far greater than I could achieve alone.

I also believe in pushing boundaries. Design is not static, it evolves with time, technology, and culture. I see it as a living, breathing entity, constantly adapting to the world around it. Whether I’m crafting a brand identity, building a multimedia narrative, or creating a time-travelling performance piece like Metroplex 2024.2122 Sleeping in Peace, I approach the process with the mindset of a world-builder. Every detail, no matter how small, contributes to the larger narrative.

Technology plays a critical role in my philosophy as well. Just as a director might use motion capture to tell a story that transcends live action, I see tools like Unreal Engine or Cinema 4D as extensions of my creative process. They allow me to blur the boundaries between mediums, melding the digital with the tangible, and the real with the imagined.

Ultimately, design is about transformation. It’s the ability to take something ordinary and elevate it into something extraordinary, something that connects with people on a human level, across timelines, languages, and mediums. To design is to shape experiences, and I view every project as an opportunity to build a world that others can step into, explore, and carry with them long after.

Who or what has been a major influence on your work as a designer? Any artists, movements, or personal experiences?

My influences are a constellation of visionaries who have shaped the way I see and create. Peter Moore taught me the power of simplicity, how a single design, like the Air Jordan logo, can transcend function and become a cultural icon. Daito Manabe’s fusion of art, technology, and human experience inspires me to push boundaries, exploring how design can be felt as much as seen.

Paul Inglis’ ability to craft immersive worlds, from Skyfall to Blade Runner 2049, reminds me that every detail tells a story. Christopher Nolan’s mastery of nonlinear storytelling and his exploration of time and perspective have profoundly influenced my approach to crafting narratives within design. His ability to layer complexity while maintaining emotional resonance pushes me to create work that is both intricate and accessible, and Isaac Asimov’s visionary narratives have shaped my conceptual thinking, showing me how to balance the future with the human condition.

All of these influences converge in my work, much like nodes in a network. They have taught me that design is not just a discipline but a way of seeing and shaping the world.

What do you find most exciting or challenging about creating visual identities for events, brands, or organizations?

The thrill lies in the act of storytelling, taking the intangible essence of an organization or event and shaping it into a visual language that transcends boundaries, cultures, and time. Every logo, every color, and every line becomes a piece of a larger narrative, one that communicates clearly while evoking emotion, sparking curiosity, and inspiring meaningful action.

The challenge, however, is the balance, distilling complexity into simplicity without losing depth. A visual identity must be a mirror, reflecting the soul of its subject, yet also a doorway, inviting people into its world. It’s about creating something timeless, yet adaptable, something that can stand firm in an ever-changing landscape while remaining true to its core.

It’s not just design; it’s world-building. I approach each project as if I’m crafting a new universe, listening deeply to the voices of its creators, understanding their vision, and ensuring every element resonates with authenticity. Whether it’s for a small brand or a global event, the goal is the same: to create something that leaves a mark, not just in the mind, but in the heart.

The most exciting part? Knowing that these visual identities don’t just represent, they connect. They become a shared language, a node where ideas and people converge. That is the magic of design, it transforms the invisible into something tangible, yet infinite in its potential.

How do you stay inspired and continue to grow creatively in a fast-changing industry? 

Inspiration is a living thing, a flame that must constantly be fed with curiosity and exploration. To stay inspired in an industry that evolves at the speed of thought, I make it a point to remain open, absorb, and adapt. I see the world as a vast archive of ideas, where exhibitions, travel, and teaching become opportunities to learn and grow. Whether it’s attending events at Epic Games and 3Lateral or immersing myself in the immersive worlds of teamLab, I’m constantly seeking out spaces where art and technology converge in innovative ways.

Modern art, movies, and music are among my richest sources of inspiration. Watching films and TV series is never a passive act for me, it’s a study in storytelling. I dissect the interplay of light and shadow, the intentionality behind lighting setups. But also how these elements breathe life into an environment. I immerse myself in the soundscapes, exploring how music and ambient sound craft emotional resonance and elevate visual narratives. It’s in these meticulous details, a glint of light, the swell of a score, and the depth of a shadow that I discover endless pathways for innovation.

Any routines, hobbies, or sources of inspiration?

My routines are like rituals, anchoring me in the creative process. Sketching isn’t just a habit; it’s a way of mapping the raw data of my imagination. Reading opens doors to new worlds and perspectives. Experimenting with tools, whether it’s new software, techniques, or mediums, keeps me at the forefront of possibility.

But inspiration doesn’t always come from the expected. Sometimes it’s in the quiet moments: observing how light moves through a window, listening to the rhythms of a bustling city, or walking through a place steeped in history. These are the moments that remind me why I create, to capture the fleeting, to give form to the intangible. To share a vision that resonates beyond myself.

In a world where change is the only constant, staying inspired is about embracing that change. It’s about looking at every shift in the industry as an opportunity to evolve, push boundaries, and redefine what’s possible. For me, inspiration is not just a spark; it’s a journey, a continuous process of exploration, reinvention, and discovery.

If you could design for any dream project or collaboration, what would it be and why??

A dream project for me would be a collaboration with Daito Manabe and Christopher Nolan. The two creators who have profoundly shaped my perception of time, technology, and the human experience. Daito’s innovative approach to integrating data, human movement, and interactive technology mirrors the kind of cutting-edge experimentation I thrive on. Christopher Nolan, on the other hand, has an unparalleled ability to explore the complexities of time, memory, and perspective, crafting narratives that linger in the mind long after the experience.

Together, we could create something transformative, a platform that merges art, technology, and narrative into a seamless, interactive experience. Imagine a project utilizing neural interfaces and real-time data mapping, where users could traverse through layers of time and memory in an immersive, nonlinear space. It could incorporate AI-generated visuals, synchronized biofeedback systems, and cinematic storytelling to explore concepts like the strings of life, the interconnectivity of human experiences, and the mysteries of the unknown future.

This kind of project wouldn’t just be about entertainment, it would be a new form of digital storytelling. It would challenge how we perceive reality, technology, and our place within a rapidly evolving world. Much like both Daito and Nolan do in their respective mediums.

If you stay until the end,

See you at CGA Belgrade 2025, from the 10th to the 11th of April.

Be sure to grab a ticket on time.