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I believe that everything constantly changes, and thus nothing can be known except that which arises anew in each moment of awareness. In relation to this belief, my creative process is the kind of thinking and learning that does not have a predetermined end, but rather challenges the habitual ways of seeing, understanding, and experiencing things and spaces around me.

My thoughts circulate around the departure of line from its flat, pictorial plan into open space by addressing the question: If space is the relation between two points, lines or boundaries, then how does one come to think about the subject in that relationship, if at all? The passage from line to space consists of acts such as occupying, entering, departing, resting and confronting rather than formal elements. The line then signifies the energy or distance that I leave behind, both physically and mentally, in the process of making work.

Making site-specific and often ephemeral art is, repeatedly, a reopening of an intimate conversation between my mental articulation and transformative experience. Experiencing the remnants of this conversation offers the viewer a vulnerability of human labor – its imperfection, limitation, incompleteness, and the incredible fragility of our physical and conceptual inventions.
Something's Always Missing
Site-specific installation
The Levy Gallery at Moore College of Art and Design
August 2013













To see the process of creating the installation please click here:
https://vimeo.com/71649497

https://vimeo.com/71653849



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Art space U10, Belgrade (Serbia)
May 2013

The collaborative art project “Selling Fog” analyses the creative process as an important feature of the artistic practice, which is very often underestimated and neglected when it comes to the evaluation and appreciation of the artwork itself.

Today’s world of seductive and manipulative visual imagery does not trigger critical and analytical thinking but rather commodifies the viewer’s perception, turning him/her into a mere consumer of visual pleasure. This obsessive consumerism consequently leads to the creation of the new society – the society of ‘the nearsighted voyeurs’. In this dysfunctional society the artist is seen as ‘a fog seller’ whose product is a result of leisure and hedonism, and as such is worthless. On the other hand, the art of deceptive story telling seems to be highly profitable nowadays especially regarding a production and distribution of absurd ideas.

In the exhibition “Selling Fog” the artists Rachel King from the United States of America and Natasa Stojanovic from Serbia, are applying the advertising sale strategies onto their own artworks in order to reveal, promote and increase the materialistic value of each art piece. Most viewers may not understand all the levels of art that exist today, but they understand the effects of marketing, advertising, and sales pitches. Those who are not familiar with the sophisticated language of the artistic ideas will be presented with the opportunity to see the art world through the interpretative lens of numerical pragmatism.

Text by Natasa Stojanovic

matchboxes, digital print




Topography of the Spaces

Topography of the Spaces is an on-going project that reconstructs the experience of an undifferentiated interior world, in which we are not mere spectators, but to which we inseparably belong. It reveals all imperfections within the space and puts the viewer into a haptic contact with the space. What emerges from the observer’s spatial explorations is an alternative topography that exists beside, or rather, underneath the official topology and discourse of the given space – its everyday objects, occurrences, collision of facts, marks, traces etc. Space is not simply given by the design of urban forms and its functionality, but is created through practice.




Topography of my studio table
Blue sand directly applied onto the table surface full of marks and scratches.
2013
Consequences of Interaction

Consequences of Interaction is a series of visual studies of the relationship between man and the spatial dimension of his environment, but also of the human behavioral pattern inside the spatial mould.The individual is a microcosm, an echo, a reflection of the whole. Each part of his body, each movement of his soul reflects events or places that exist in the world. By shaping the physical dimension of his world, man decisively influences onto the psychic sphere, onto the perception of space; in turn this one affects the very creation of space in a continuous closed causal chain.
Space hides a language that shows a specific mental structure. This language is born from the relationship between the physical extension of space, available resources and demography.


12” x 10”1/2
Icon Magazine(March 2013), black sharpie

10” x 6”3/4
Philadelphia Official Visitors Guide [Fall&Winter 2009/2010], black sharpie, collage

4”1/2 x 6”
Postcards [The Olympic Games 2012], black sharpie






Performance
2013

This piece was performed in May 2013 at Moore College of Art and Design. I was dragging the stone from one side of the room to the other, for the duration of five minutes. It was an experiment for the longer performance.

The core of my performance is formed by the combination of catharsis and the visual power of its delivery. In this performance I am recording the present moment by translating my effort - to reach the end - into line. The effort creates a strife – the space of in-betweeness – where the mind and the body reveal their weaknesses and potentiality. The repetitive action of walking (with the stone tided to my waist) through which I produce the lines in the sand reveals the vulnerability of my own physical body and brings into being the power of my mind-body. The line then signifies the energy or distance that I leave behind physically and mentally in the process of dragging the stone from one end to the other. The line of my performative drawing calls both the body itself and the meaning of the artwork into question through one another. In the sense that a line is a conduit of meaning, or ductus, it induces qualities of movement even as it reproduces them.

What my drawing offers to the viewer is how a physical gesture holds evidence of time and effort. Viewing drawing through this temporal framework allows the viewer to consider it as both an act that takes place in the present (as in the time of the drawing’s creation), while also being a trace of this action, the record of a past event or gesture. The process of art-making in which the artist does not know the outcome, what the work of art will look like, or even be, is a process with shifts and changes, one of simultaneously seeing and finding a new way.


Photographed by Oz Hatke
1500 Yards of Green
8 x 8 feet
Masking Tape
2012

In this site-specific installation I manipulated masking tape into a massive self-organizing system that transcendent the material itself. Layered and clustered with an almost viral repetition, this piece assumes forms that both evoke natural systems and seem to defy the laws of nature. Directed by the materials unique properties, the installation grows through repetitive labor – leading to the emergence of new structures and higher levels of complexity. Due to its spontaneous behavior the installation constantly revises and changes its structure as it adapts to the changing circumstances in the space. It raises the question: “What happens between the assumption of casualness and the discovery of intensity?”


Stage I
Stage II
Stage III
 
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