Andjela Milosevic is an artist, musician, and designer based in Serbia, Belgrade with a rich history of solo and group art exhibitions, renaissance concerts, bands, and design projects. Her work escapes the confines of borders and can be found all over the world in form of paintings, illustrations, corporate artworks, designs, prints, and visual art.
She is an artist fueled by thoughts and emotions, moments and transiency, the inner workings of the subconscious, abstract expressionism, and the dreaded power of time. Her fascination with eyes – unique and unrepeatable micro universes that showcase a wealth of colors, shapes, and hidden symbols of creation and destruction – earned her the nickname “Iris” in the galleries across the Adriatic region.
Throughout her artistic education, she could never fully settle for just one direction or specialization. For years she juggled the worlds of design and painting, creating her unique style and broadening her artistic abilities. This gave her the opportunity to sharpen her skills when it comes to the ever-growing world of digital art and illustrations, but also approach everything with the traditionally trained eye of a painter. She completed her master’s studies at the Faculty of Contemporary Arts in Belgrade, Serbia, Department of Visual Arts.
Her breakthrough exhibition came in the form of her painting series “Moments in transiency” – haunting charcoal and pencil portraits and images mimicking the style of aquarelle paintings. These paintings show us the duality of time, a devastating fact that our lives are unavoidably passing by, and only the specific moments imbued with significance remain in our thoughts and minds. On the other hand, if we could somehow slow everything down, stop and observe, we would see that every moment is infinite in its abundance. “We forget to fully feel each moment given to us, as if by that tormenting rush and acceptance, we confirm ourselves to be transient beings.” – she says at her ULUPUDs exhibition in Belgrade.
Her follow-up series garnered even more attention. Titled “Children” and “Adults” these two series explore the complex world of human faces in the so-called “single span” watercolor technique. This technique doesn’t allow any corrections or changes, instead, it pushes the artist to create harmony from irregularities and to strengthen the connection between the hand and mind that guides it. Her fascination with eyes as the windows to the soul aside, Andjela was also fascinated with the connection between human faces and emotions.
The “Adults” series showcases adult faces caught in moments of weakness, strength, suspicion, greed, love, mockery, praise, jealousy, vanity, and sometimes total calmness and peacefulness. It’s a game of opposites where after a certain period of time spent with these artworks, we simply accept all these characters as raw human nature, painted just the way it is, instead of characters and faces deserving of our judgment. “Children” on the other hand explore the peculiarity in children’s faces – their innocence, lightness, playfulness, and desire to learn, some even looking much older than others as if they are filled with experience that was passed on to them from some previous life.
Alongside her visual arts education and success, she also tackled music. She graduated from the “Josip Slavenski” music school, department of renaissance, and specialized in renaissance singing and recorder flute. She further explored Bassano and other similar instruments while performing with a “Flauto Dolce” group where she discovered her gift of synesthesia. Looking to use that gift and marry the worlds of visual and audio, she produced several sonic art series, the most famous of which was her works showcasing visual representations of James Blake and Tame Impala songs.
Her later black ink series Pina, dedicated to the amazing Philippine “Pina” Bausch, further expanded the synesthetic concept by mixing in sound and movement, represented in inky, ghost-like images that are one part dancers frozen in time, and the other features and extremities of the human body carrying both sound and movement at the same time. Embedded in all artworks are statements about relationships and dancing as one of the pinnacles of human experience. “Dance, dance, otherwise we are lost.” – she quoted Pina as she opened her exhibition to the crowd of artists, art professors, dancers, and actors in Macedonia’s most famous alternative gallery.
Over the years, and since 2011, Andjela has had 12 solo/independent and over 60 group juried exhibitions in Serbia, EU, and Asia countries, and performed as a lead singer and flutist in several renaissance, rock, jazz, and pop music bands and assemblies. She is a member of the internationally recognized ULUPUDS association, opened her creative studio for children “PIKOLO” and web, design, and marketing agency Digital Creators Studio.
Her latest artistic works include “the Waves” series, pencil miniatures depicting the harrowing effects of the coronavirus waves on the artist herself – exhibited and awarded at the yearly miniature exhibition of ULUPUDS association in 2021; and “Streams”, an ongoing series that is representing constant streams – natural, emotional, intellectual… – as shifting slices of life in an abstract manner.
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