Therefore the Jasenovac Flower is not a mere historical reminiscence; it is a promising symbol of the future. Bogdanović said; “I marked life with the Jasenovac Flower – the crime that occurred in Jasenovac is horrible, but it is important to show what will happen later.” In 2002, the author donated all of his drawings that preceded the designing and the construction of the Flower to Jasenovac Memorial Site. A part of that collection will be presented at the exhibition at Ikona gallery in Venice.

Besides the Flower monument, Bogdanović is also the author of the horticultural design of the memorial that was created in 1966. He entered the landscape and the area that surrounds the monument into the landscape of death; into the wasteland, and into the drained Jasenovac soil. Jasenovac is the authentic location of the former notorious concentration death camp that existed there in the period from 1941 till 1945. Hummocks – the symbolic shapes in space, were “designed” into the soil, into the real locations of suffering and executions of female and male detainees. The author, in so doing, insisted on the authenticity of the space, marking the landscape with grass hills and thus creating a monument area like the topography of crime. By no means did he want to reconstruct the location of suffering because he did not want to repeat it; he wanted to mark it with dignity. Bogdanović does not reconstruct, because reconstruction is deeply insulting. Bogdanović’s landscape symbolizes and marks a deep, great silence, the place of greatest cruelties. Anguish, the area desecrated by crime.