Mute/ Mute
Mute/ slike, crteži, instalacije/ kombinovana tehnika/ 2018- 2019. Pojam „mute“ se vezuje za (voljno ili nevoljno) odsustvo govora ili zvuka. Simbolično posmatrano, "mute" je stvarnost i datost pojedinca u pretrpanom bučnom modernom dobu. Pomenuti fenomen savremene komunikacije, odnosno „mute osećaj“, je zapravo inicijacija ove serije radova. Između ostalog, umetnica u radovima postavlja diskusiju o važnosti i validnosti reči koje su preuzele apsolutno vođstvo u umetnosti i šire, kao i o apsurdu trenda isticanja važnih informacija gde te informacije zapravo izostaju. The term “mute” is connected to (willingly or unwillingly) the absence of speech or sound. Symbolically observed, “mute” is the reality and existence of a person in the overcrowded noisy modern age. This phenomenon of the modern communication or ‘the mute feeling’ is actually the initiation of this series of works. Among the others, in her pieces of works the artist sets the discussion about the importance and the validity of words which have taken the leadership in art. Her another discussion is about the absurd of the trend in which the valuable information are highlighted even though they are actually missing.

Četiri jahača Apokalipse/ The four Horsemen
Četiri jahača apokalipse/ instalacija/ drvo/ 140cm x 150cm x 60cm- po komadu/ 2015. Instalacija kojom umetnica izlazi iz dotadašnje dvodimenzionalne prakse. Umetnica postavlja u prostor četiri drvena konjića za ljuljanje (dečije igračke), ali u dimenzijama za odraslog čoveka (140cm x 150cm x 60cm- po komadu). Instalacija je interaktivna i osmišljena je kao ponuđena zabava konzumentima uz zamku ukoliko izostane informisanost o njenom nazivu. Rad bez izuzetka pripisuje jednu od destruktivnih osobina Jahača Apokalipse svakome ko uđe u dijalog sa njegovim zabavnim aspektom i tako postaje komentar savremenom društvu. The artist leaves her previous two – dimensional practice with this instalation. The artist sets four wooden rocking horses (children’s toys) in the room and they are the same dimensions as the grown-up man (140cm X 150cm X 60cm each). The installation is interactive and made up as the given entertainment to the consumers with a trap if the information about its name is missing . The piece of work, without no exception, shows one of the destructive characteristics of “The Riders of Apocalypse” to everyone who enters the dialog with its funny aspect and that way becomes the comment about the modern society.

Natron/ Natron
Natron/ slike-crteži/ kombinovana tehnika- natron papir, akril/ 180cm x 150 cm/ 2015. Produbljujući ideju započetu prethodnom serijom radova, umetnica se okreće apstraktnim kolažima koji postaju prostor (u svim svojim tumačenjima) njenog svakodnevnog delovanja. Proces rada postaje važniji od samog dela. Radovi nastaju presovanjem, nagomilavanjem, cepanjem, kao i vršenjem mnogih drugih aktivnosti na recikliranom papiru po kojem su dobili ime. Ističući očigledno, naziv „Natron“ skreće pažnju na sam materijal izbegavajući dodatne sugestije i pružajući tako posmatraču mogućnost višestrukih tumačenja. Deeping the idea from her previous series of works, the artist turns to the abstract collages which become the space (in all its interpretations) of her everyday work. The process of making becomes more important than the actual piece of work. The pieces of work have been made by pressing, accumulating or tearing the recycled paper and according to this paper they have got the names. Pointing out the obvious, the title “Natron” pays the only attention to the material avoiding the additional suggestions and that way letting the observer to have the possibility of multiple interpretations.