immersion (2014) 




In the video Immersion, I deal with self-transformation. Unrestrained, spontaneous movements of both bodies collide on a split-screen. There is no real beginning, no end, just movements. I explore the duality of our being, the causal distance from ourselves and our principles, and then return to the essential self, the surrender to our inner being. I merged vertically two different frames into one film, resembling the symmetrical scene of mirroring in water. Thus, two chronologically distant actions merged into one newly formed movement and the union of two bodies, where the boundary of their encounter is occasionally lost.


Tranquillity women's movement,

Passionate bodily spasm,

The figures are drawn on the floor,

Side by side.

Bodies are sticking together

And randomly touching,

Encountering and splitting,

Irreducibility, indivisibility,

The need for inverting.

Curled bodies,
In a cramped space,

Limited mobility,

Sinking in itself.

Own body in the plural.

The bodies coalesce,

Into a common moveable form.


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my.lab.experience (2020) 




During the isolation of a pandemic COVID-19, I started working on my video project My.lab.experience. researching new methods of living, acting and adapting to these new circumstances. In this case, the laboratory project includes work on myself.  

Because our identities are mediated through technological prostheses - avatars,  the boundary between the outer appearance and what is within us is being lost. Social media has affected us all, both mentally and emotionally. Such transformed aesthetics and culture accent the growing need for visibility and self-presentation.




VEGAS Pro 17.0 

Adobe Photoshop 2020

Adobe After Effects 2019

my intimate worlds (2011) 





I have shown a mini self-portrait, summarized in likewise miniaturized videos that are intertwined. By merging seemingly oppositional themes such as presence and absence, artists' isolation and public life, illusions about their antagonisms have been deleted. Contrasting the static geometrical-photo background and nearly transparent video images represent a dream of untouchable intimacy. Boxes as geometric frames are trying to preserve the intimate worlds.


Nikon 500

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home (2003) 





Part of Interactive installation and performance, Art residency, RP3, Belgrade (2003). The project culminates on the last day - at the opening, with the arrival of more public - then the video Home was filmed from the floor. In the video, other people entered our little and intimate world.

Real Presence 3, Generation 2003, international workshop,

Museum 25. May, Belgrade, Serbia.

paper temple (2015) 



By placing the camera under the table, I wanted to achieve the illusion of a baroque sky. I am inserting and removing new photos and combining them instantly. Overlaps occur randomly like a kaleidoscope and they can be altered and intertwined. The moving collage is conceived as a loop video installation projected on tables. This video performance is the next sequel of my last work in situ - Revealing (2013).

Creating a movable altar I deal with eroticism and open femininity that violates the traditional vision of a humble woman.

And behind the paper clips lies the subtle anti-clericalism, the sparkle of the spiritual life.




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Bodily fluids (2016) 




Bodily Fluids immerses us in a completely fluid-virtual world that lives in its own specific alienated way. It contains a wast amount of ​​movements that have no beginning nor end: a carousel that never stops. By adopting an archival and collage approach, this video project actually explores the possibility of an animated deconstruction of our materialistic universe. Inserted and captured segments of film shots depicting a woman underwater, alienating her from the present and time. The (un)present woman is drowned under several layers of matter, which is presented in the form of two-dimensional moving images that creates a constant vortex: conflict of agreeing/remaining and not agreeing/disappearing to the tasks of unstable modernity. Work functions as a constant change of the visible and the invisible, the immersed and the emerging. I use a simple animation of ornamental layers as a representation of matter, flat infinity. I tend to immerse the observer in the image, to draw him into a transcendental - falsely stable structure. The accompanying sound of the waves only supports the impression of imperceptible, gradual immersion and complete surrender to corporate reality.

They'll never get my bodily fluids.



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Video projection as a part of exhibition: Space in contemporary art of Vojvodina, Gallery Kazamat, Osijek, Croatia

It’s More


Here (2021) 





"It's More Comfortable Here" is a video-performance

that celebrates the experience of being embodied in a

renewed communion of different forms of nature.

A solid, heavy rock is joined with a delicate, slowly

moving body. The questions of comfort,

indulgence, but also the misinterpretation

of freedom are explored in this video.





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Adobe Photoshop 2020

Adobe After Effects 2019

Part of the screening:

Voice, Body, Language and Someone

@ Harvestworks Art and Technology Building 10a, Nolan Park,

Governors Island, New York.

Artists: Ivana Smiljanić, Eva Davidova, Zorica Čolić, Monika Sigeti, titre provisoire, Marianna Ellenberg, Maja Čule.

Curated by Zorica Čolić

Supported by City Artist Corps Grant (The New York Foundation for the Arts and the New York City Department of Cultural Affairs)