Found objects are collected and processed by Danka Nisevic, creating a narrative between man, object and nature. The process is simultaneously enticing yet rejecting, as its ambiguity creates a trajectory which transforms the perception of these objects from unobserved ephemera to considered and contemplated remnants.
Why did you put yourself forward for the open call?
I found Paulin to be intriguing. I felt connected to your principles: tasteful, innovative, ethical, understated… the interdisciplinary nature of your store and of the exhibition itself was inspiring. I was interested in a space where art and commercial objects connect effortlessly.
Tell me about this particular piece.
The installation that I have produced is a collection of objects, remnants of the natural world and frivolity. It is a conversation between man, object and nature, reflecting the quandary of current global thought. Fragments, which would normally be thrown away, are now considered; natural objects, which would normally be ignored, are now elevated; frivolity, which would normally be standard, is now minimal. Environmental value is transforming. My installation is reflecting time lost searching...
Is this the kind of work you usually do?
Generally, I collect and process objects, which have been brutally removed from origin. Through intuition, I articulate remnants and create narratives, which are lingering between what once was and what now is… absence, yearning and bewildered loss create a trajectory which is simultaneously enticing and rejecting. Internal is externalised, external is internalised, transition is formed and everything is put at risk.
Labyrinth. Dreamscape. Wilderness.
How do you connect to Paulin as a member of the Scottish creative community?
I feel a strong connection with Paulin at every level: it is a store where I would like to exhibit art and jewellery, as I strongly agree with the values that your company is endorsing. Aesthetically, I find Paulin innovative and tasteful; conceptually, it is young and progressive. I think it is exactly what Edinburgh needs at the moment: most gallery spaces are commercial and Paulin is providing breathing space to be experimental.
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