Blurred
keramičke pločice, 194 x 142 x 10 cm, 2017. Blurred (autoportret) je izrađen od keramičkih pločica, kao slika niske rezolucije, pikselizovana skoro do potpune neprepoznatljivosti. Kompjuterske funkcije „zoom in“ i „zoom out“ su ovde poistovećene sa pozicijom posmatrača – što je posmatrač udaljeniji, slika mu postaje jasnija. Razmišljajući o fluidnosti identiteta, želela sam da predstavim paradoksalnu karakteristiku spoznaje sopstva – što se više udaljim, to bolje upoznajem samu sebe. Bistu, kao paradigmatični skulpturski format namenjen autoportretu sam transformisala spajanjem digitalne slike i keramike kao materijala. Zanimao me je rezultat koji ću dobiti spajanjem naizgled potpuno suprotnih stvari – piksela, izvedenih iz estetike digitalne slike i keramike, koja digitalnu sliku u ovom radu čini opipljivom.// Ceramic tiles, 194 x 142 x 10 cm, 2017. Blurred (self-portrait) is made out of ceramic tiles, as an image of low resolution, pixelated to be almost unrecognizable. Computer functions “zoom in” and “zoom out” are here identified with the position of the spectator – the further the spectator is, the clearer the image becomes. While thinking about the fluidity of identity, I wanted to show the paradoxal characteristic of getting to know my self – the further I get away from me, the more I know myself. The bust, as a paradigmatic format of sculpture meant for a self-portrait, was transformed by creating a link between a digital image and ceramics as the material. I was interested in the result of connecting seemingly completely opposite things – pixels, derived from digital image esthetics and ceramics, which in this piece make the digital image tangible.

Comfort zone
Comfort zone,fotelja, metalna žica, 110x86x85cm, 2017. Rad se sastoji od fotelje i metalne žice zbog koje fotelja gubi funkcionalnost kao upotrebni predmet. „Šta predstavlja zonu komfora za pojedinca?“ i „Koje su granice ličnog prostora?“ su teme koje pokušavam da istražim kroz ovaj rad. Zonu komfora sam učinila nedostižnom i ograničila je uz pomoć masivne žičane ograde. Ono što ostavljam otvoreno za tumačenje je - šta zapravo ta nemogućnost korišćenja fotelje izaziva u posmatraču? Pokušavam da izazovem osećaj ili sigurnosti ili nelagode izazvan prirodom žice kao odabranog materijala. U zavisnosti kako posmatramo i tumačimo umetničko delo, žica može biti surova, kavez i granica; ali može predstavljati i sigurnost, ogradu i zaštitu od nepoznatog. // Comfort zone,armchair, metal wire , 110x86x85cm, 2017. The piece is created from an armchair and metal wire, making the armchair lose its property of a functional object. “What represents a comfort zone for an individual?” and “What are the borders of personal space?” are the themes I am trying to explore through this work. The comfort zone has been made unattainable and limited by the massive wire fencing. What is open for interpretation is - what does that inability to use the armchair trigger inside the spectator? I am trying to induce feelings of either safety or discomfort by the nature of the wire as the chosen material. Depending on how we view and understand the art piece, the wire can be brutal, a cage and a border; but it can also signify safety, a fence and protection from the unknown.

Merry-go-round
Site-specific instalacija je nastala tokom rezidencijalnog boravka u Štutgartu u okviru Nachtsicht festivala. Rad se sastoji od ljudskih silueta u prirodnoj veličini na kater foliji koje su postavljene na staklo pokretnih ulaznih vrata napuštene zgrade Eiermannovog kampusa (u kojem se festival održao). Početna inspiracija je bila samo okruženje i prostor za rad. Na brojnim prozorima zgrade kampusa se nalazi signalizacija u obliku silueta ptica, i služe kao upozorenje, kako se ptice ne bi sudarale sa staklom. Želela sam da se poigram sa nekom vrstom signalizacije za ljude, da skrenem pažnju posmatraču kroz kombinaciju muških i ženskih silueta u vidu vrteške. Pored njene očigledne funkcije upozoravanja posmatrača na rotirajuća vrata, ova instalacija simbolički predstavlja i međuljudske intimne odnose i „upozorenja“ da se često nalazimo u začaranom krugu. Četiri siluete koje jure jedna za drugom u krug i nikada se ne sustignu. Nakon završetka festivala, desio se neočekivan ishod koji je radu dao i dodatnu interpretaciju: rotirajuća vrata su, nakon uklanjanja „ljudske signalizacije“, slomljena od strane prolaznika. Ono što je meni bilo interesantno je koliko se brzo naviknemo na prisustvo/odsustvo nečega i kako reagujemo na promene u našem okruženju.// This site-specific installation was created during a residency in Stuttgart as a part of the Nachtsicht festival. The piece is built out of human silhouettes in natural size, made on plastic foil, and positioned on the glass of the revolving doors of an abandoned Eiermann campus building (in which the festival was held). The initial inspiration was the specific environment and the workspace that presented themselves to me. Numerous windows of the campus building were decorated with signalization in the shape of bird silhouettes, serving as a warning, so that the birds would not hit the glass. My intention was to play with a kind of a signalization for people, to draw the attention of the observer to a combination of male and female silhouettes in a form of a merry-go-round. Aside from its obvious function of warning the observer of the revolving doors, this installation also symbolically shows interhuman relationships and “warnings” that we often find ourselves in an unescapable cycle. The four silhouettes that chase after each other in circles and can never catch up to one another. After the festival ended, an unexpected outcome occurred, giving this piece an additional interpretation: the revolving doors were, after the removal of “human signalization”, broken by a passerby. What I found interesting is how quickly we get used to the presence/absence of something and how we react to the changes in our surroundings.