In my practice I mythologize, restage and reinvent specific national events while referencing the overarching Balkan mythology. While drawing from specific historical myths constructed from medieval events, I appropriate the language and implications of traditional history painting and reinvestigate specific Balkan narratives like the legendary 1389 Battle of Kosovo. Those legends became part of the national history and were transformed into unquestionable truths. Once thought of as purely fictional, these mythologized events seized a place as authentic history laying the groundwork for recent religious revival, nationalism and wars that followed a long lasting Communist reign. They have become primary influences on contemporary Balkan socio-political and cultural climate.

Through use of diverse media such as painting, printmaking, digital photography and video, I am exploring the problematic of political art while politicizing the act of artistic engagement. I implement formal strategies that reveal the process of theatrical staging and the inauthentic nature of reported events. Having been greatly influenced by the theoretical writings and theatrical methodology of Bertold Brecht, I employ his concepts of the dialectic and theories of distancing by using obscure, disintegrated, pixilated, photographic sources. The way I execute my paintings mimics this disintegration, implying questions about the authenticity of photographic evidence as proof of an historical event. Ideas about fragmentation and the multiple are contrasted to notions of idealized interpretation, immortality and grandiose myth.  This tension is the conceptual foundation of my investigation.