1281

Kristina Milakovic

Year:

2018

Media:

mix media on canvas

Size (cm):

60 x 60 x 3,5

London 2019
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Other works

L'aria è più nebbia

Kristina Milakovic

Year:

2018

Media:

mix media on canvas

Size (cm):

60 x 60 x 3,5

London 2019

untitled

Kristina Milakovic

Year:

2018

Media:

mix media on wood

Size (cm):

10 x 10 x 1

London 2019

Biography

Kristina Milakovic was born in Belgrade in 1976.
From 1993 to 1994 she studied at Etela Merc’s art studio in Belgrade. In 1994 she graduates at the Senior School of Architecture in Belgrade where she studies Byzantine Iconography and Sculpture. In 1966 she moves to Italy where she attends the Academy of fine Arts in Rome and the four year painting course held by Professor Nunzio Solendo. She graduates in 2003 with the vote 110/110.

Project

Kristina Milakovic shapes memories of introspective landscapes in which natural and architectural elements combine in sculptural organisms beyond time.
The artist creates another reality in which a war between real life and what she would like it to be takes place.
Everything is generated by bipolar emotions and the canvas becomes an arena where all her desires are possible and her essence can turn into simple red fragments. Her works are often characterized by distinct physical structures that can’t come together. A broken bridge or a bare landscape sign the decay of relationships and their ephemeral nature.
Kristina offers us shots of her emotional path: each structures is immersed in the silent dimension in which only the dissolution of that brief moment of inspiration survives.
The infinite landscapes sculpted in the artist's imagination. Plumbed atmospheres, metallic lights, a dust that eats the contours and shapes only returns the soul.
Kristina Milakovic's landscapes are pure lyric abstraction, to which she comes after a path where the change,
Her painting goes from the absolute black and white of the first works to compositions where the reds or yellows, stretched out in crisp and sharp backgrounds, give a new calibration to the monochromatic dominant. Until, in the last works, the exploration of the blues and the bituminous browns has arrived. Even the form, although elusive and synthetic, makes space slowly. And from the first abstractions emerge hypotheses of cities, liquid architectures immersed in evanescent atmospheres, in which they are again swallowed to leave the step to nature only. There are no views or glimpses of reality but a personal reinterpretation in which the main actor is the chromatism, experienced with overlapping veiling and dripping, of an almost liquefied pictorial material. They are territories to be explored like in a dream, slowly, letting oneself be transported by the surreal immateriality of the elements in fading. In this formlessness of shapes, one reveals a geometry, a clear line, a graphic sign that defines an almost distinct separation of the above-below, of the image and its quasi-double, a reverse that does not reflect but returns a new possible reconstruction.

Kristina Milakovic