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Sketch 1

The visual whole of  "Everyday clothes" consists of a series of visual notes that were a result, as the artists herself says, of reflecting on the daily activity of opening the wardrobe and the daily act of choosing what to wear. Seen through the frames of the nude/half nude female or male body, images of isolated items of clothing, the visual studies of Mićić’s daily life, in the broadest sense represent an intimist diary entry on the usual ritual act so familiar to us all. The small daily practice of creating an outfit represents one more way of communicating and interacting with the outer world, another possibility to say something about oneself, ones spirit, ones intentions – it is sometimes done to last, sometimes its is done ad hoc inspired by the moment or sometimes it is dictated. In the artistic practice the small routinized action assumes a solo act, a game that for the artist is equally exciting, challenging, uncertain as is the very process of creating a work of art. The dialogue between the idea and form starts by choosing the color, texture, material, model, it brings about the same reflection as if one were sitting in front of the whiteness of a canvas that was waiting for a brushstroke, some ink, a form - more precisely waiting for a visual narrative ...

Sketch 2

Studying clothes apart from the dominate discourse constructed by consumerism and fashion, the artist carefully follows its status of a visual sign that portrays someone’s identity, mood, emotions. An item of clothing is intriguing to the artist from a position of intermediation that directs one between the self, the body and society. Milica Mićić perceives the ephemeral daily need as a process of personal and group definition through a visual expression, a signal that makes a statement, conceals, stresses but also seduces and confuses. A series of visual stills emerges in the framing of a moment, a situation, it brings to the viewer the unknown chronology of fooling around or "a pastime", leads one through a unique breviary of adaptation and construction, introduces us to small stories about the everyday, the daily choices, impressions, desires. This is stressed by each contour, curve, pattern of both the dress and the skin, as well as the "faces whose seams have been ripped" or "the faces who have been clothed" who the artist only retains for her children’s characters, the only ones clothed by the garments of an innocent or honest view of the world ...

Sketch 3

Milica Mićić’s "Everyday clothes" detect and record all the disorders and sensitivities of the modern world. Her works can be seen as visual commentaries, notes on alienation, subsequent digestion, the rule of the image, new norms and priorities that are established by numerous social worlds that are in a constant state of acceleration. She links them by the narrative about the human body which for many sociologists and culturologists is the key area for studying and diagnosing the changes in the clinical picture of the global social community. The body is seen and described as a passive object inclined to grafting, on the verge of being completely identified with other objects, with things that are all the more present in their phenomena and that even threaten, according to some radical pessimistic predicaments, to completely adopt it and turn it into an extension or addition. The artist also records this on going process of equating between the live-material world. She does “portraits” of the detached items of clothing that emit a kind of their own separate life almost becoming a surrogate for the depersonalized body that takes the shape of a coaster or coat-hanger that only exhibits the ruling social patterns. Milica Mićić effectively “records all this” clearly making her critical stand on the issue which is underscored by her choice of the classical media to explicate the contemporary everyday, the relationship between the individual and society, the body and the world of objects, the phenomena and the meaning and their total conditioning by the rhythm of the accelerated current moment.