Velma Babić works across performance, photography, and spatial practice, with drawing as a parallel and integral part of her practice.
Rooted in questions of memory, displacement, and the entanglement of personal and collective histories shaped by war and its aftermath, her work unfolds with a sustained attention to what persists beyond direct representation.
Her biography unfolds across multiple geographies, including Germany, Bosnia and Herzegovina, Colombia, and the United States—an experience that informs her engagement with fragmentation, continuity, and the persistence of embodied memory.
Using her own body as a site of negotiation and resistance, particularly in performance and photography, she develops works that emerge through gesture, repetition, and the material presence of the body in space.
At the same time, drawing traces what precedes language and resists direct articulation. Rather than representing experience, her practice engages with what remains—continuing to act as marks, tensions, and forms of memory.
At the same time, drawing traces what precedes language and resists direct articulation. Rather than representing experience, her practice engages with what remains—continuing to act as marks, tensions, and forms of memory.
Drawing on her background in literary studies, she approaches these conditions with a precise and layered sensibility, attentive to language, silence, and structure.
Her works operate with reduced means—minimal in form, yet dense in implication—inviting a sustained encounter with questions of violence, endurance, and the politics of remembering.