ARTIST BIO
Multi media artist, and an award-winning set/costume designer
Snezana exhibited both nationally and internationally in Amsterdam, Los Angeles, Singapore, Tokyo, Prague, and Belgrade, at the venues such as Los Angeles MOCA and Stedijilk Museum, Amsterdam. After the graduate school she was working under Judy Chicago in the “Envisioning the Future” project.
She is recipient of numerous awards in USA and Europe: e.g. “Golden Arena” for Production Design in feature movie “Harms Case” and “Ovation 2010, Los Angeles” for the costume design in Large Theater category.
Snezana is awarded UC Regents Grant, Center for Cultural Innovation Quick Grant and National Endowment for the Arts.
She taught art, art history and theater design at California State University , Los Angeles, and University of Redlands. She was Chair of Fine Arts Department, Professional Development Coordinator and Professor at Crafton Hills College.
Her most recent installation and AR installation work will be presented as solo exhibition “Collateral Damage: Re-Call” at Gallery 825, Los Angeles in January 2021.
Snezana holds the MFA, from University of California, Irvine
BFA, from Belgrade University, Yugoslavia
and
Professor Emerita in Arts title.
COLLATERAL DAMAGE INSTALLATION
WITH AUGMENTED REALITY SERIES
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“collateral damage n. : injury inflicted on something other than an intended target;
specif civilian casualties of a military operation”-Merriam-Webster Dictionary
Collateral damage is an immersive installation that speaks of the damage and harm in nature that we, humans, are causing unintentionally.
The interactive aspects of the installations intend to bring an
awareness to the warning signs of inadvertent destruction of the ocean, coral reefs, and water resources via playful interactions with different kinds of beauty, set up in a possible post-apocalyptic plastic-fantastic-future in indoors and/or outdoors sites.
The massive use of zip-ties is intended to rise an awareness of the plastic use everyday. It is call to action with the AR component that invites spectators to take active role and bring to life dead corals, under and above the water environments. The Mother (They, Them, Their) as single fictional inhabitant of these post-apocalyptic sites, is depicted via video actions and fake advertisement.
INTRAHUMAN
lenght 7:21min
The video Intra-human is video done for the exhibition “The Five Facets of Humanity” curated by Khang Bao Nguyen on view at FOCA, Los Angeles by December 12, 2020. It is constructed narrative referencing the art series Collateral Damage. It was recorded with 5 cameras as a sci-fi salt mandala ritual. Imaginary character, The Mother (They,Them,Theirs) is a single fictional inhabitant of futuristic museums and/or Bionic Garden. The recorded performance evokes the images of impermanence and Tibetan Buddhist mandala. The sound recorded during the performance is my heartbeat, and breath combined with the soundscapes that I have recorded during dives in Huatulco, Mexico: e.g. under the ocean water, moving sands, fishes eating. Intentional obstruction of all the senses with the masks, goggles, hat, hazmat gloves and boots, reduced the awareness to the inner, more subtle consciousness. The ritual was done as an offering, with a hope for a better future symbolically presented with the underwater video of Manta rei that was doing flips less than a foot away from me at my dive on Big Island.
My art is call to action, seeking to open a dialogue between present and possible dystopian future, while addressing unintended destruction that we cause in our own environment.
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BIONIC GARDEN SERIES
length 2:31min
The Future Bionic Garden is indoor/outdoor video installation is created as dystopian model garden with "fake" infomercial promoting benefits and advantages of plastic-fantastic garden while featuring the fictional character The Mother from “Collateral Damage” project. The upbeat repetitive music, bold colors, crude stop-motion animation of happy bionic-bugs dance are masking a grim possible future where the face and body are completely covered due to the pollution. The sci-fi environment is in a playful way both critique of our consumption of plastic as well as call to the action at the 11th hour.
The most recent installation was presented during the Covid 19 lock down for "Durden and Ray" Gallery in Los Angeles.
WOUNDS TRAPPED IN FABRIC OF TIME
This installation is a contemplation on the history of violence and deep psychological and physical wounds that women endured globally and through the history. On a deep personal level it is my confession of fragility and permanence of pain even when the wounds are seemingly healed.
The choice of zip ties, as tools of captivity e.g. hand cuffs and properties of the plastic as endured material that will surpass us and damage the nature, is metaphor for the passages of time in its increments and continuity. My journey through life is mapped in each stop in this net.
Bloody red paint on a gauze are witnesses of pain buried or interwoven into a memory.
Each time the installation is located on another site is meant to embrace the space in different ways, while altering the “pain” visibility. Regardless, the pain always stay trapped in the fabric of time.