Jelena Pavićević Marković
— born in 1989 in Podgorica, is a sculptor and artist. She graduated from the “Petar Lubarda” High School of Fine Arts in Cetinje and earned her undergraduate, specialist, and master’s degrees in Sculpture from the University of Montenegro’s Faculty of Fine Arts in Cetinje. Over the years, she has held ten solo exhibitions across various creative cycles, including Excavations I and II, Excavations as Temples of Memory and Experience, Earth to the Cosmos, Aura Impulsa, Terraformations, and Logosynthesis. In addition to her solo exhibitions, her work has been featured in numerous prestigious group exhibitions both in Montenegro and internationally. She has also participated in a variety of international symposiums, colonies, festivals, and residencies in the fine arts. Jelena’s accomplishments have been recognized with several notable awards, including first place in the “Art for Life” Zdrava Donna Montenegrina competition, the annual sculpture award from the Faculty of Fine Arts in Cetinje, the University of Montenegro’s purchase award, the “Milunović, Stijović, Lubarda” award from the Association of Fine Artists of Montenegro, and the Ćano Koprivica Foundation’s purchase award for sculpture. With a rich background in education and pedagogy, she has taught fine and visual arts for many years. Jelena has been a member of the Association of Fine Artists of Montenegro since 2012.
My artistic research focuses on the introspective process and explores how inner experiences can be expressed artistically through a relationship with the environment and the spirit of place (genius loci). I draw from both individual and collective heritage and archetypes to form my poetic and philosophical worldview. In my work, I not only engage in introspection but also seek to reveal how the inner depths and essence of the self-reflect upon and interact with the environment.
I am particularly interested in how psychological processes transform when encountered by new spaces, ensuring that the genius loci of these environments becomes an integral part of my creative projects. Through my artistic practice, I aim to forge connections, whether aesthetic, cultural, archetypal, or traditional, in an effort to uncover the many layers of human experience and the complex relationships we have with nature, the environment, and its hidden laws and patterns.
My work remains grounded in the exploration of life’s origins, and I approach this by directly manipulating materials, allowing them to retain their originality and symbolism. Throughout, I stay true to my poetic sensibility and the feminine principle.
The Excavations sculpture cycle12 marks the beginning of my creative journey and forms the poetic foundation for all my subsequent work. In this series, I explore archaeological processes as a means of uncovering archetypal layers, tapping into the collective unconscious, and engaging with the concept of genius loci.
The sculpture Excavation3, part of the Excavations as Temples of Memory and Experience cycle, explores the connections to childhood, focusing on integrating and artistically representing the layers of my personality shaped during the earliest stages of life. The base of the sculpture is deliberately left unpolished, allowing each creative gesture to leave a visible imprint. This unfinished texture symbolizes the sensitivity of human nature during its formative years, where even the slightest external influence can shape one’s character and psychological development. The base serves as the foundational form to which I add three additional elements, ultimately creating a sculptural structure reminiscent of a temple-body.
The formation and development of the nucleus of life, which signifies existence at the verge of becoming, serve as the central conceptual and thematic framework for the Terraformations cycle4. In this body of work, I sculpt various forms of existence, creating an illusion of undisturbed and natural processes. This approach allows matter to develop freely, capturing life at a moment of evolutionary transition that fundamentally differs from the surrounding inanimate and untransformed environment.
In this context, Terraformations represent my intimate bioarchitectonics of life, where each sculpture embodies the symbolism of biomorphic forms and illustrates the transition from the amorphous state of matter to the polymorphism of life.
A Pet5 is part of the Earth to Cosmos cycle and features a simplified form inspired by fauna, referencing both mythical and archetypal representations. It aims for the material to embody the essence of the created forms, which are rooted in the universal legacy of ancient civilizations while also reflecting my personal creative experiences.
The sculpture6 that belongs to the Logosynthesis cycle is constructed from discarded materials, aiming to provide them with new meaning and function. This approach harmonizes the technical process of creating the sculpture with its thematic and poetical foundations.
Negative elements from public spaces, such as information, conflicts, feelings, events, and experiences, pollute the environment and affect both individuals and society as a whole. I equate this understanding with the material waste humans leave behind, concluding that this same material symbolizes unwanted content that contaminates social reality.
By collecting discarded materials and artistically recycling them, I seek to purify both physical and mental spaces. This process holds both subjective and broader social value, as it encapsulates the potential to transform harmful content into aesthetic quality while fostering awareness of personal and collective well-being.
The Aura Impulsa cycle78910 is a deeply personal exploration of the origins of life and the creative energy that sustains existence. It includes works created using the assemblage technique, combining collages of various materials with artistic and photographic elements. The shapes are consistent and represent enlarged sections of biological cells. This uniformity allows the works to be composed into larger artistic compositions, creating a unique aesthetic interaction between the microstructures of individual pieces and the macrostructure of the cycle, much like natural systems that make up the living world.
Conceptually, the Aura Impulsa cycle focuses on the examination of the formation and development of the vital core, specifically mapping the universal principles of female creative energy. In this context, I explore artistic representations of different sources of creation and existence, investigating what is holistic and universal. The works of the Aura Impulsa cycle thus become an intimate bioarchitecture of life, a phenomenon with its own origin, evolutionary process, and trajectory. Through these works, I build a personal poetics of biomorphic forms and the transition from the amorphous state of matter to the polymorphism of Life.
1Image: Jelena Pavicevic-Markovic, Excavation, 2012, Terracotta with brass elements, 92x40x23cm. Courtesy of the artist
2Image: Jelena Pavicevic-Markovic, Excavation, 2012, terracotta, 116x67x30cm. Courtesy of the artist
3Image: Jelena Pavicevic-Markovic, Excavation, 2014 (from the cycle Excavations as Temples of Memory and Experience), terracotta and wool, 70x34x19cm. Courtesy of the artist
4Image: Jelena Pavicevic-Markovic, Terraformation, 2019, terracotta, 21x19x36cm. Courtesy of the artist
5Image: Jelena Pavicevic-Markovic, Pet, 2017, terracotta and wool, 37x28x22cm. Courtesy of the artist
6Image: Jelena Pavicevic-Markovic, Logosynthesis, 2022, Papier-mache, 176x50x64cm. Courtesy of the artist
7Image: Jelena Pavicevic-Markovic, Aura Impulsa, 2015, assemblage, 19x20cm. Courtesy of the artist
8Image: Jelena Pavicevic-Markovic, Aura Impulsa, assemblage, 40x37cm. Courtesy of the artist
9Image: Jelena Pavicevic-Markovic, Aura Impulsa, assemblage, 41x30cm. Courtesy of the artist
10Image: Jelena Pavicevic-Markovic, Aura Impulsa, assemblage, 28x23cm. Courtesy of the artist
Jelena Pavićević Marković, rođena 1989. godine u Podgorici, je skulptorka i umjetnica. Završila je Srednju školu likovnih umjetnosti „Petar Lubarda” u Cetinju, a osnovne, specijalističke i master studije iz oblasti skulpture stekla na Fakultetu likovnih umetnosti Univerziteta Crne Gore u Cetinju. Tokom godina, održala je deset samostalnih izložbi kroz različite kreativne cikluse, uključujući: Iskopine I i II, Iskopine kao Hramovi Pamćenja i Iskustva, Zemlja ka Kosmosu, Aura Impulsa, Terraformacije i Logosinteza. Pored samostalnih izložbi, njeni radovi su bili predstavljeni na brojnim prestižnim kolektivnim izložbama, kako u Crnoj Gori, tako i međunarodno. Takođe, učestvovala je na raznim međunarodnim simpozijumima, kolonijama, festivalima i rezidencijama u oblasti likovnih umjetnosti. Postignuća Jelene Pavićević Marković prepoznata su brojnim značajnim nagradama, među kojima su: prva nagrada na takmičenju “Art for Life” Zdrava Donna Montenegrina, godišnja nagrada za skulpturu Fakulteta likovnih umjetnosti u Cetinju, nagrada za otkup Univerziteta Crne Gore, nagrada “Milunović, Stijović, Lubarda” od strane Udruženja likovnih umjetnika Crne Gore i nagrada za otkup skulpture od strane Fondacije Ćano Koprivica. Sa značajnim iskustvom u oblasti obrazovanja i pedagogije, dugi niz godina predaje likovne i vizuelne umjetnosti. Jelena je članica Udruženja likovnih umjetnika Crne Gore od 2012. godine
Moj umjetnički rad fokusiran je na introspektivne procese i istraživanja kako se unutrašnja iskustva mogu umjetnički izraziti kroz odnos s okolinom i duhom mjesta (genius loci). Inspiraciju crpim iz individualnog i kolektivnog nasljeđa i arhetipova kako bih formirala svoj poetski i filozofski pogled na svijet. U svom radu se ne bavim samo introspekcijom, već nastojim otkriti na koje se načine unutrašnji sadržaji i suština ličnosti odražavaju na okolinu i stupaju u interakciju s njom.
Posebno me interesuje kako se psihološki procesi transformišu kada se suočavam s novim prostorima, osiguravajući da genius loci ovih sredina postane sastavni dio mojih stvaralačkih projekata. Kroz svoju umjetničku praksu nastojim stvoriti veze, bilo estetske, kulturne, arhetipske ili tradicijske, u cilju otkrivanja raznih slojeva ljudskog iskustva i složenih odnosa koje imamo s prirodom, okolinom i njenim skrivenim zakonima i obrascima.
Moj rad je zasnovan na istraživanju porijekla života, a tome pristupam direktnom manipulacijom materijala, dozvoljavajući mu da zadrži svoju originalnost i simboliku. Pri tome, ostajem vjerna svom poetskom senzibilitetu i ženskom principu.
Ciklus skulptura Iskopine12 označava početak mog stvaralačkog puta i čini poetski temelj za sav moj kasniji rad. U ovoj seriji skulptura istražujem arheološke procese kao sredstvo otkrivanja arhetipskih slojeva ličnosti, zainteresovana za kolektivno nesvjesno i koncept genius loci.
Skulptura Iskopina3 dio je ciklusa Iskopine kao hramovi memorije i iskustva i istražuje veze s djetinjstvom, pri čemu je fokus na integraciji i umjetničkom predstavljanju slojeva moje ličnosti koji su oblikovani u najranijim fazama života. Baza skulpture je namjerno ostavljena neuglađenom, s namjerom da svaki vajarski potez ostavi utisnut trag. Takva nedovršena tekstura simbolizuje osjetljivost ljudske prirode tokom godina njenog formiranja, gdje čak i najmanji vanjski uticaj može oblikovati nečiji karakter i dalji psihički razvoj. Baza služi kao osnovna forma na koju komponujem tri dodatna elementa, stvarajući na kraju skulpturalnu strukturu koja podsjeća na hram-tijelo.
Formiranje i razvoj životnog jezgra, odnosno života na pragu postojanja, služi kao centralni konceptualni i tematski okvir ciklusa Teraformacije4. U njemu vajam različite oblike postojanja, stvarajući iluziju neometanih prirodnih procesa. Ovaj pristup omogućava materiji da se slobodno razvija, hvatajući život u momentu evolucione tranzicije, pri čemu se nastale forme suštinski razlikuju od okolnog neživog i netransformisanog okruženja.
U tom kontekstu, Teraformacije predstavljaju moju intimnu bioarhitektoniku života, gdje svaka skulptura nosi simboliku biomorfnih formi i ilustruje prelaz iz amorfnog stanja materije u polimorfizam života.
Skulptura Ljubimac5 dio je ciklusa Zemlja kosmosu. Ima pojednostavljenu formu inspirisanu faunom koja je fundirana na mitskim i arhetipskim predstavama. Cilj je dozvoliti materijalu da prenese suštinu stvorenih formi koje pripadaju univerzalnom naslijeđu još od vremena drevnih civilizacija, a istovremeno odražavaju i moja lična kreativna iskustva.
Skulptura iz ciklusa Logosinteza6 izgrađena je od odbačenih materijala, sa ciljem da im se pruži novo značenje i funkcija. Ovaj pristup usklađuje tehnički proces stvaranja skulpture sa njenim tematskim i poetičkim osnovama.
Negativni elementi iz javnih prostora, kao što su informacije, sukobi, osjećaji, događaji i iskustva, zagađuju okolinu i utiču kako na pojedince tako i na društvo u cjelini. Ovu spoznaju izjednačavam s materijalnim otpadom koji ljudi ostavljaju za sobom, zaključujući da taj isti materijal simbolizuje neželjeni sadržaj koji kontaminira društvenu stvarnost.
Sakupljanjem odbačenih materijala i njihovom umjetničkom reciklažom, nastojim pročistiti i fizički i mentalni prostor. Ovaj proces ima subjektivnu i širu društvenu vrijednost, budući da sadrži potencijal transformacije štetnog sadržaja u estetski kvalitet, podstičući svijest o ličnom i kolektivnom blagostanju.
Ciklus Aura impulsa78910 predstavlja duboko lično ispitivanje porijekla života i kreativne energije koja ga održava. Obuhvata radove izrađene asamblaž tehnikom kolažiranja različitih materijala, kao i likovnih i fotografskih elemenata. Njihov je oblik unimorfan i predstavlja uveličane presjeke bioloških ćelija. Ovakva forma radovima daje mogućnost komponovanja u šire likovne kompozicije čime se stvara jedinstvena estetska interakcija između mikrostruktura pojedinačnih radova i makrocjeline ciklusa, poput sistema iz prirode koji sačinjavaju živi svijet.
Na idejnom planu, u fokusu ciklusa Aura impulsa je ispitivanje formiranja i razvoja životnog jezgra, odnosno mapiranje univerzalnih principa ženske stvaralačke energije. To znači da se bavim likovnim prikazima različitih izvora stvaranja i postojanja, ispitujući ono što je holističko i univerzalno. U tom smislu, radovi ciklusa Aura impulsa postaju vrsta intimne bioarhitektonike života; života kao fenomena koji i sam ima izvorište i poseban evolucioni proces i putanju. Zato kroz ove radove gradim ličnu poetiku biomorfnih oblika i procesa prelaska iz amorfnog stanja materije u polimorfizam Života.
1Foto: Jelena Pavicević-Marković, Iskopine, 2012, Terracotta sa bakarnim elementima, 92x40x23cm. Ustupljeno ljubaznošću umjetnice.
2Foto: Jelena Pavicević-Marković, Iskopine, 2012, terracotta, 116x67x30cm. Ustupljeno ljubaznošću umjetnice.
3Foto: Jelena Pavicević-Marković, Iskopine, 2014 (iz ciklusa: Iskopine kao hramovi pamćenja i iskustva), terracotta i vuna, 70x34x19cm. Ustupljeno ljubaznošću umjetnice.
4Foto: Jelena Pavicević-Marković, Terraformation, 2019, terracotta, 21x19x36cm. Ustupljeno ljubaznošću umjetnice.
5Foto: Jelena Pavicević-Marković, Ljubimac, 2017, terracotta i vuna, 37x28x22cm. Ustupljeno ljubaznošću umjetnice.
6Foto: Jelena Pavicević-Marković, Logosynthesis, 2022, Papier-mache, 176x50x64cm. Ustupljeno ljubaznošću umjetnice.
7Foto: Jelena Pavicević-Marković, Aura Impulsa, 2015, asemblaž, 19x20cm. Ustupljeno ljubaznošću umjetnice.
8Foto: Jelena Pavicević-Marković, Aura Impulsa, asemblaž, 40x37cm. Ustupljeno ljubaznošću umjetnice.
9Foto: Jelena Pavicević-Marković, Aura Impulsa, asemblaž, 41x30cm. Ustupljeno ljubaznošću umjetnice.
10Foto: Jelena Pavicević-Marković, Aura Impulsa, asemblaž, 28x23cm. Ustupljeno ljubaznošću umjetnice.
