Having spent the last few years based in the countryside, making work and growing flowers and vegetables, I’ve found this environment has allowed me to tap into deeper levels of my consciousness and push my practice further. This work has become intrinsic part of my personal growth and I see my spirituality reflected in it.
My latest work has developed into conglomeration of my experience of nature and reality. For the last few years I have been working with fragmented abstract shapes that originate from my paintings. These are symbolic fragments of my life experiences as a mother, woman, an immigrant, as well as the visions and shapes I witness in nature.
My fascination with nature originated in my early childhood. Growing up, I spent time in the meadows and greenhouses on my family’s farm in Serbia. I remember being immersed in a world brimming with plants and flowers that would frequently come alive and speak to me. A few years before pandemic, I moved my ceramics studio to my friend’s house in the heart of the English countryside.
I put my sculptures through a complex process of fragmentation, casting, recasting, gluing, cutting, creating forms and enlarging. This abstract, transcendental quality of my new sculpture bears a strong stylistic, technical and poetic affinity with the works of Jean Arp, Barbara Hepworth, Isamu Noguchi, Niki de Saint Phalle, Sarah Lucas and Tony Cragg.
My latest sculptures are concerned with themes of femininity, entropy, fragmentation, rejuvenation, plants, flowers, seasons in nature, art history, and processes such as of growth, life, dying and recycling.
Sculpture 5 (work in progress) Misha Milovanovich London, 2023 Polyurethane foam and polystyrene & specialist aluminium foil before fibre glass composite is applied filled and sanded, primed and painted.
H: 140cm W: 56cm D: 60cm