Since he could chose content- proves that Džapo does not count upon semantic, associative, literary or any other value of the chosen motif. In that he joins the always bigger group of young Zagreb painters, mostly belongig to the class led by Prof. Igor Rončević, veteran whose hand is recognisable thanks to the particular relativisation of the semantic plan of painting, fall and disintegration of everything mimetic, elimination of metaphor and relase of structured narrative notionsand even his own, unique repertoire of signs and metaphors, his personal cosmology and unique world of his own voice, as local critics like to say.

Having realized that in painting todax, as in art in general, there are no universal truths yet to be discoverd nor is there an ontological essence to be reached, Džapo draws attention to the deconstrution of painting and negates its metaphysical, metaphoric and symbolic essence, and thus its position in the contemporary context. Džapo is still strictly interested in cold visual facts, in that which concerns the painting itself- the constellation, the fundamental postulates and the principles of the construction of a painting. He questions the spatial organization of the painting, its surfaces and depths, the calculations and proportions, the blasphemous combinations leading up to it, such as those of planes and layers, their possible dislocations, and the interactions of foreground and background...

Džapo points out thenowadays ludicrous dogmatism of the "geometrists" and the "figurationists". He assumes an equally ironic attitude towards both groups. From the position of a contemporary painter, Džapo ironizes the desire of abstract and figurative painting for the indivisible, whole being, for absolutism and domination. Searching for the narrow spaces of freedom and playfulness, wich he will emboss with a recognizable sign of individual talent, Džapo displays in these painthings a masterful casualness, unpretentiousness, irony, a mocking attitude towards everything framed with firm formal premisses. He also refers to historic examples in which Construcivists demonstrated how forms could be rationally discoverd, to "picture puzzles" and serial flows of calculated historic geometry in which the geometric shapes werw calculated and the paintings looked as if printed, not manufactured but machine- made and impersonal. In the entire period of its domination, construcivist art- including the works presented at the New Tendencies exihbitions, the "last avant-garde" (Lea Vergine)- strived for technical perfection, for a precision in execution, nwhere in the works of New Tendencies nembers can a brush stroke be made out,