Paintings are usually produced in series, often acompanied by large groups of drawings. From an iconographical point of view, Francisco Tomsich’s painting practice deals with the tradition of portrait-making (see also self-portraits and portrait-based series like How to dissapear not completely or Signs For Those Who Are Far Away), allegorical thought (as in the Open Allegories series) and history painting (explicitely in the 20th Century Frieze category). The latter aspect is evident in the Iconocante project, a constantly re-worked archive of reproductions used to compose images and sometimes acquiring certain autonomous character. Some of those companions are recurrent and can be found through places and years in different contexts, as is the case of the girl in front of Grippo’s owen, Lee Miller, Cy Twombly, Lenin and the women in yet unknown colours (Davorjanka Paunović, Jovanka Broz, Nadezhda Krupskaya, Magdeleine Paz), while there is a series of exhibitions-monuments devoted to the Slovene artist Dušan Merklin (Wish You Were Here). There are recurrent animals too (deers, dogs, putti, horses) and other red threads which have been important in certain periods to organize a research (like Argos, Demo, Janus, Nehushtan, The Burden, Paris). Some projects are just sketched and wait for development, like Scenes from the Bible and Trilce (in the genealogy of an on-going drawing project upon César Vallejo’s poems). Heads and Plinths, on the other side, appear in drawings and paintings since the beginning, while Medusa traverses many works dealing with hiding and (un)veiling in the genealogy of a technical research which comprises also the Melusine’s Works (like Tempel der Medusa) series of installations/paintings, often produced for public spaces and featuring anarchitectural strategies (see models, passages, temples). The manipulated remains of those decorated buildings made of cardboard become indepedendent works (Melusine’s Ruins). Most of the technical and iconographical aspects mentioned in this paragraph are being currently developed in the Silent Paintings series of antiaffreschi on canvas, initiated in 2025.

Paintings can be found everywhere, however, inside series related to certain essays and bigger projects or exhibitions, which usually integrate different media, as in Die berliner Sphinx (2008), Essai sur l’enfermement (2010–2011), Jania (2003), La bataille de Nancy, Loess (2010–2011) or Theory of Velenje (2016).

Mudanza/Icaria (2006) was an exhibition built upon the myth of Icarus which also triggered a specific modus operandi of sculpture-making using assembled wood. After some years of nomadic pause, it reappeared with the on-going Sueños de Dulcinea, Don Quijote y Sancho Panza series. Another sculpture-related project waiting for development is the Aardolmen series of mud heads, initiated in Fulda in 2018 and never completed. Sculptural processes are part of many works, specially if we speak of installations, (anti-)monuments, the Treatise on Detachment or in the context of the Meta City Symptoms series (which also launched the There’s no place to go series of interventions).

Besides some experiments in collages and some illustration works, there are many post devoted to drawings and sketchbooks. Drawing is at the center of Francisco Tomsich’s practice, and two books are on preparation in 2025. One of them deals with the results of many years of working in portrait drawing workshops with children and adults in many countries and contexts (A portrait is for not being alone). The other one deals with the classification of drawings according to six Drawing Systems: Mistakes of the Russian Mystics, Lantern Traces, Blind Papers, Life Maps, Calligraphies and Studies.

Photography projects are usually articulated as books, but some, like Found Photos, Visiting the studio at night or Still Lifes With Gauze Strips deal with specific series which are being developed constantly and for long periods of time.

Most videos and films produced and exhibited in recent years are part of the Silent Works series. Video and projections, however, are widely used in other ways too, as in the documentation of certain actions (as in Offering, 2015), as independent pieces like Blackout (2023) or in the Tableaux Vivants series (in development), a research on expanded painting which integrates the on-going Through a Dark Glass meta-series of investigations on painting and moving image in dialogue (see also Gifs, The artist’s father and Performing Paintings).

Many posts subsume on the category TALGIA, a long-term model of actuation dealing with cultural histories of Yugoslavia, sometimes in dialogue with art histories from the Southern Cone, as in The “Yugoeslavia folder” artistic research project.

Some entries refer to the Institute of Consensual Art (ICA), a model of actuation dealing with reception and consensus being developed since 2010 (Treatise on Extended Portrait) as a constituent part of different projects and strategies.