Selected Works

I have been carrying on a dialogue between the landscape and the female body (based on my own silhouette). Through my body sculptures I become an extension of nature and nature becomes an extension of my body. An extension in which common fixations on national origin become irrelevant.

The performance metaphorically refers to a specific moment in 1992, when, shortly before the siege of Sarajevo, people of all nationalities spontaneously gathered in this square to protest against the impending war in the country. This act of solidarity is hardly mentioned or remembered today. The word “Da” means “yes” in Bosnian and is intended to convey the will of younger generations for a better future without the pro-war rhetoric of political elites both in the country and currently worldwide.

A performance that I did immediately after the outbreak of the war in Ukraine. I have received responses to this series from some Bosnian friends who had experienced war in their own country. In this series of images, they all recognized their impression that human life is nothing but struggle reflected in the face of the new war. 

Eva Hesse: Don't ask what it means or what it refers to. Don't ask what the work is. Rather, see what the work does.

... or a refugee's dream (1992): In the middle of our living room a tree was growing, very fast. Disturbed, I decide to remove and plant it into the garden, but it was simply impossible to deal with its huge trunk. I realise that I have to cut the tree first and then to dig out the roots. After finishing, I plant the roots outside into the soil. I then say to my father: I am sure it will grow anyway.

Like the windmills in which Don Quixote senses a certain and insidious threat, so is the effect of trauma: it continues to circulate as an unconscious threat in people and society. In trying to restore the pre-traumatic state, man/society paradoxically repeats the same conflict over and over again.