Copyright 2025 Profix
About Me
Isidora Jovčić is a Serbian academic artist of contemporary art of the 21st century.He belongs to the younger generation of painters of expressionism, informal, and action painting. Her professional title is a graduate designer and master fine artist, she was born on February 26, 1993, in Knjaževac, Serbia. She graduated from the secondary art school in Niš, majoring in graphic design, in 2012. She graduated from the "Faculty of Philology and Art" in Kragujevac, Department of Graphic Design in the class of Professor Aleksandar Zarić, in 2016. She also completed her master's degree at the "Faculty of Philology and Art" in Kragujevac, Department of Fine Arts - painting module, in the class of mentor Professor Aleksandar Zarić. Zarić, with a working thesis entitled "Transformation of the Body", 2019. She continues her education and in 2019 she enrolled in doctoral academic studies at the "Faculty of Applied Arts" in Belgrade. She received her doctorate in applied art, accompanied by mentor Ivan Grubanov and commentator Miroslav Lazović. The topic of her doctoral work is entitled "Calligraphic Gesture in an anthropocentric image - an exhibition of experimental calligraphy". The development of her artistic expression is reflected in works created using oil on canvas, acrylic, and combined techniques, exhibited from 2016 until today. She had over twenty collective exhibitions as well as twelve solo exhibitions. She also explores visual language in other media, such as lettering, calligraphy, photography, installation, graphics, and graphic design. She lives and creates in Knjaževac, where she actively paints in her studio.
Doctoral Art Project
„Calligraphic Gesture in Anthropocentric Painting – An Exhibition of Experimental Calligraphy„ In my work, I explore the tension between chance and intention through the use of signs and handwriting in painting. While handwriting is inherently an individual movement, I aim to create a language that bridges spontaneity and control, allowing it to communicate with the audience through coded artistic messages. A painted sign, like any other sign, carries its own function, but it is not constrained by any predetermined structural relationship. Instead, it begins the author’s individual narrative, which the viewer then completes. The deconstruction of the sign influences the aesthetic experience and opens up numerous possibilities for interpretation, enhancing the impact of both the calligraphic and painting processes. Based on the hypothesis outlined in this project and a reflection on traditional calligraphic techniques in art, I seek to highlight the advantages of modern calligraphy methods. The exhibition titled Calligraphic Gesture in Anthropocentric Painting: An Exhibition of Experimental Calligraphy clearly defines and demonstrates the contemporary calligraphic methods that will be showcased. Through a detailed theoretical analysis, I address the challenges, benefits, and limitations of the calligraphic gesture. These theoretical insights are then manifested in the exhibition itself, where the methods discussed are brought to life. By integrating theory and practice in this way, I aim to make an innovative contribution to contemporary academic art, enhancing the calligraphic gesture as a distinct artistic style.
Master thesis
Transformation of the body The question of corporeality is the most important question for research work in my paintings. Somatology (from the Greek soma - body, logos - science) which in the modern understanding, as a part of anthropology, is taken as a general science about man. Observed from this aspect, the act - the body becomes the main theme and preoccupation of my artistic research work. By means of a series of human figures wrapped in an abstract central composition, I absolutely and unconditionally put the necessary human figures into a specific context. So, in a composition where the body is more or less present, without it, to a greater or lesser extent, a study of the body is shown, a guide, a measure of translation or incorporation of a purely abstract form that leads us to immediate feelings. It is exactly the same with the viewer, who, guided by the artist, constantly gathers more and more knowledge from the abstract language in order to finally master it completely. Just as every spoken word arouses an inner vibration, so it is with every presentation of a certain abstract image. To deprive oneself of the possibility of arousing such vibrations would mean to forcibly impoverish the arsenal of one's means of expression.
Isidora Jovčić, series ,, Transformation of the Body I ,,
combined technique, dimensions 125 x 125 x 2,5 inch, 2019
Isidora Jovčić,series ,, Transformation of the Body II ,,
combined technique, dimensions 125 x 125 x 2,5 inch, 2019
Isidora Jovčić, series ,, Transformation of the Body III ,,
combined technique, dimensions 125 x 125 x 2,5 inch, 2019
Isidora Jovčić, series ,, Transformation of the Body IV ,,
combined technique, dimensions 125 x 125 x 2,5 inch, 2019
