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View In My Room
Photography, Digital on Paper
Size: 27.6 W x 39.4 H x 0.1 D in
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479 Views
1
In a series of pieces entitled "Till Death Do Us Part," "Beds," and "Dreams," several formal features of marriage are recreated. The exploration begins with the wedding photo and the wedding vows, extending to the apologetics of daily life within intimate companionship. The bed serves as the space for individual and partner diversity, exchange, and potential agony due to the unintegrated self in one of the most delicate unions of individuals—the marriage union. The cycles "Till Death Do Us Part," "Beds," and "Dreams" evoke a different experience compared to the triptych "She Bathed Regularly." The series explores an atrophic visuality, the anthropological interplay of contact and distance, gaze by contact, the interspace of awakened and (not) exchanged sensuality, the story of the pure and unclean, and the search for the self as a time of the vagrant, transient, and undomesticated but one's very own irrevocable other. It narrates the apotheosis of love and humanity. All three cycles, developed since 2002 and presented through the iconography of intimate records and places of fatal symmetry of the self and its other, simultaneously depict phenomena of complex social interaction and a culture where, from the Modern Age to the present, visual elements of raw imprints and aspects of things intertwine. Memorabilia are portrayed as objects between reliquary and portrait imprints, symbolic gestures of the living and gestures of the dead, as well as the factual measurement of time within one's internal duration of pain experience, desire, and longing for love.
Digital on Paper
20
27.6 W x 39.4 H x 0.1 D in
Not Framed
Not applicable
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My artistic creations manifest the nuanced tension that permeates the junctures between life's unyielding realities and the impulsive stirrings of creativity, often materializing as ambivalent projections oscillating between the tangible and the fantastical. Central to my inquiry are fundamental questions probing the essence of my existence – why does my life unfold as it does, what emotions stir within me, what propels me forward, and how does it manifest visually? I craft introspective dialogues that traverse the realms of the internal and the external, the ethereal and the corporeal. The body, in my oeuvre, serves as a medium, transmitting profound meanings across the diverse stages of life – navigating the complexities of growth, maturity, motherhood, and the inexorable march of time. While my works stem from the autobiographical, constituting imprints of the soul and windows into self-awareness and revelation, they transcend individual narratives. They metamorphose into metaphors encapsulating the universal struggles and challenges faced by women at large. These creations, seemingly a resonant voice of feminist consciousness, extend beyond, resonating as a desperate plea for sustenance in the arid expanse of contemporary society, marred by prejudices against women and their societal standing. In my artistic practice, I deem digital media the most fitting conduit for my ideas. Its emergence has not only shifted the emphasis from manual to conceptual authorship but also aligns seamlessly with my artistic rhythm and cognitive processes. This choice is a deliberate embrace of a medium that echoes the contemporary zeitgeist and provides a fertile ground for the exploration of complex themes. Maya Simic is a Belgrade-based visual artist and Professor at the Printmaking department of the Academy of Arts in Novi Sad. She has been creating intermedia works of printmaking, photography and video art since the late nineties. Maya graduated in 2002, received her Magistra of Arts degree in 2005 and her PhD in 2020 at the Faculty of Fine Arts in Belgrade. Since 2001, she has exhibited internationally at 13 solo and more than 150 group exhibitions across Europe, the USA, China and South Korea.
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