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Selena Vickovic, Modern Painters
Katya Martinez Agency
10 May-10 June
Born and raised in former Yugoslavia, Selena Vickovic made her home in Paris during the civil war that ravaged the Balkan states for almost a decade. Unlike some of her artistic compatriots, however, Vickovic's work, while still clearly political, maintains an upbeat feel. Her cartoonish, Pop-inspired take on reality creates a starling world in which moments of cruelty pepper the otherwise colorful ambiance of her depictions. The artist's childlike images of people, tin soldiers and angels are reminiscent at times of Dubuffet and at times of Francisco Clemente's Arte Povera experiments, although Vickovic's expression is always idiosyncratic and basks in a vibrant realm of pure colour.
The works on show at Katya Martinez span almost two decade of the artist's creative output. The earliest series, which dates from 1986-89 and is rather humorously titled Fatties, consists of graffiti-like oil paintings of the female form in which Vickovic explores volume and substance. Already apparent in these early, pre-war works is the artist's need to digest and interpret the postindustrial, communist reality that had erased her home country. In the series that follows, Targets (1993 to date), Vickovic, deeply marked by her experiences of the successionist war, depicts character such as headless acrobats, casualties of war and the unidentifiable corpses of children. Despite the disturbing nature of her ability to bring a certain lightness of being to her works through the purity of the of the colours she applies-Bonnard and Matisse are apparently never far from her mind-and through the admirable simplicity with which she treats her 'targets'.
Vickovic's 'portraits', or rather the contours of her painted heads, are often poorly defined: their eyes blanked-out, their expressionless faces filled with foreboding. The emotion they inspire is an uneasy one. In many ways Vickovic seems to be the obvious successor to the spirit of Malevitch, advancing his name strange brand of abstraction and figuration.
Nina Zivancevic
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