Jasna's Profile

From: United Kingdom
Joined: April 10, 2008
www.jasnanikolic.com

About Jasna:

www.jasnanikolic.com

Education:

2008. Professional Development in Ceramics at Kensington and Chelsea College, London, Great Britain.
1995. MA Degree awarded at the Belgrade Academy of Applied Arts and Design, Serbia.
1990. BA Degree in painting from the Belgrade Academy of Applied Arts and Design, Serbia.
  
Awards:
2007. Kovin, Serbia, The First Award for Monoprint
2005. Beijing, China, winner of the Honourable Mention in’ BIRD 2005, International Art Award’
2003. Zrenjanin, SCG,”5th Biennale of watercolours for SCG”, winner of the 3th award.
1999. Zemun, SCG, “5th Biennale of Yugoslav watercolours”, winner of the ‘Golden Palette’ award.

One Person Exhibitions
and major projects:

2008.November,December Art Residency in Paris,Cite des Arts Internacional, open studio on 26th November 2008.

2006. Montenegro, Petrovac, Gallery "Marko K. Gregovic", monoprints and art- books.

2005. London, UK, at “Studio Ormani”, Retrospective work selection

2004. Paris, France,”La Péniche Opéra”, works on wooden panels
2004. Belgrade, SCG, the Gallery of “Association of Serbian Applied and Fine Artists”, works on wood and terracotta.

2002. Thessalonica, Greece, “Chamber of Fine Art of Greece”, project “Eternals”.

1999. Belgrade, SCG, Gallery of “Belgrade’s Cultural Centre”, works on wood and paper.

1998. London, UK, “First Edition”, paintings, works on wood and paper.
1998. London, UK,”Dragon Consulting Business”, works on wood and paper.
1997. London, UK, “Gallery Focus”, works on wood and paper.
1997. Belgrade, SCG,”Gallery 12 +”, works on wood and paper.

1996. London, UK, “Enid Lawson Gallery”, works on paper.
1996. London, UK,”Hereford Salon”,project ”Work in progress, progress in Work”.
1996. London, UK,”Art House”, oils on canvases, works on wood and paper.

1995. Belgrade, SCG, Gallery of “Union of Association of Fine Artists of SCG”,the M.A. Exhibition.

1993. Belgrade, SCG, Gallery “Andricev Venac”, oils on canvases, watercolours.

Important Group Exhibitions:
2008. London Zoo Garden, Regents Park, Sculpture Show Love London, Love the Planet, ‘Red Pandas’, assemblage
2008. London, V&A Museum 'Inspired by...’ 2008.London, Zelli Gallery, shortlisted entries for Zelli porcelain sculpture Award
2007.Kovin, Serbia, ‘October Art Salon ‘

2006. London, UK, at “It's My Space”, Arts & Crafts exhibition.

2004. Maribor, Slovenia, Gallery “DLUM”, Connections '04.
2004. Budapest, Hungary,”Small Graphic Forms”.

2003. London, UK,”salon des arts”, Summer Exhibition.

2002. Thessalonica, Greece, “First Interbalcan Forum of Contemporary Art”.

2001. Samothrace, Greece, “Third Interbalcan Symposium of Fine Arts”.

1999. Brussels, Belgium,”Gallerie Claude Andre”, “Bestiaries, my family friends”.
1999. Belgrade, SCG, Gallery “Haos “, “The new age voices...”

1977. Brussels, Belgium,”Gallerie Claude Andre”, “Exposition Bestiare”.

1996. Paris, France, ”Mediart” Gallery, ”Jeux et Jouets d'Artistes”.
1996. London, GB,Gallery“Differentiate”,”Summerexhibition”
1996. Paris, France, “Joel Garcia Galerie”, ”Vingt Regards”.
1996. Amsterdam, Holland,”Post Denmark's Mail Exhibition”.

“...In search for the inhabitants of her subconscious world, the artist's expeditions follow a meditative, meandering, spiralling path. Creatures nestling there take the possession of the pictorial space and determining its internal workings. The line, the basic graphic element, not only circumscribes, outlines and shapes, but remains the umbilical cord which connects forms and figures with their creator...
The artist allows herself to be led by the drawn line and the sudden stroke of brush, by ink-spots, coloured stains and surface textures. Unrestrained by any preconceptions, her lines ensnare images and trace silhouettes, deepening in the process the picture surface and gradually opening up virtual dimensions... The eye and the hand operate according to an improvisational principle, discovering and amplifying visual clues, and bring this assortment of fragments into coherent visual structure. There is the psychic softness of the sleepwalker in Jasna's work. Her playfulness delays the making of choices until all forms are assembled and finally require definition. Some constellations, still situated between idea and form, are retained in a state of ambiguity...
Nikolic creates the magic condition in which Gothic demons, gargantuan half-creatures and grotesque but lovely hybrids thrive and gain reality. Their whispers, giggles twitters and little games fill the imaginary space and spin a strange expanding story. The narrative is carried by these phantoms and pictograms and by fully formed characters who, in harmony or in contrast influence the energy and atmosphere of each painting. This narrative is a chain of free associations quite similar to the poetic investigations of the surrealist into the patterns and absurdities of our nightly dreams and the accidents, chances and fantasies of our waking hours.
A bestiary of shapes crawls, walks, jumps, floats or flies. There are noses, arms, legs, wings and tails, which freed from the body, lead their own existence. People; half-men, half-women: composites of fish and plant, tree and bird, spirits borne by the sea or the air, coexist with winged ships, men on wheels, long-necked geese, dragonflies and innumerable others. They exist on canvas, on wood panels and sheets of paper in a poetic world where, smilingly, they contemplate the dream which has made them.
Lutz Becker, Artist and Director

Those little creatures, of unbound metamorphosizing possibilities – little people of a sort – owls, owls – children, three-eyed mates, polyps – little neurons, dolphins and salamanders. Those little drawings, the microscopy of the denoted: worlds so modest that they only outline themselves in the iridescence of imagination that connects the multitude of dimensions in the obvious so as not to tread on the ego-blisters. The pre-flood world that radiates from the future New Kingdom of righteous relations and transparent harmonies of love. The monochromatic-polychromatic sound, ison (called eternity note by Tavener), the drone pitched very low that flourishes from the neo-iconographic celebration of the shards meant to heal by recreating The Sublime presence of the delicately unassuming Lord who actually hides shyly by displaying its little beings made gigantic with their thousandfold extremities, where the impossible is easily possible. The uncreated world shown as it is and is it will be. The many-eyed ecstasies made by short strokes which liberate the world for the impossible that yearns to meet Logos of the most exquisite Sublimeness. But, until then, let the 'joyful sadness' (Harmolipi) of Jasna, the neo-Byzantine messenger, make the uncannily petite creations of hers witness the omnipotent highness of the Divine.
Bogdan Lubardic, professor at the Theology Faculty at Belgrade University