Misha Milovanovich is a Belgrade-born artist living and working in London.
Misha works across several mediums, from sculpture to painting and live art. Characterised by vivid colour, optical movement and energetic visual cadences, Misha’s visual work fuses a diverse repertoire of images and forms. She often features discarded shards of consumerism – unloved icons of disposability and careless consumption.
Misha’s work is often a symphonic abstraction. Her colourful, densely layered works are held in a state of tension between order and chaos, rational structure and spontaneity. She combines depth and surface relief, orchestrating bold contrasts of form, texture and space in her pictures. An intimate colour palette of bodily fluids – red, pink, white, black, yellow and brown – animate the writhing forms and the refracted memories of cartoonish cultural production.
A cultural polymath, Misha is constantly engaged in observing society and it’s distortions of desire, lust and attitudes to the body. Traditional techniques have been studied and absorbed and although her work is partly conceptual, it’s execution always reflects these hard won technical abilities. Misha’s main subject matter is emotion, so naturally her work is highly personal and biographical in ways that create a direct, emotional response from the viewer. Empathy and the universals of human experience – passion, nostalgia, desire and disgust are inescapable in her work.
Misha is herself a ‘displaced’ person, having left Serbia for London in her late teens she still carries within her a ‘stranger’s perspective’ and perceives the world as an outsider, someone ever alert to the non-verbal subtleties of communication.
Misha’s artistic progenitors include her mentor Martin Kippenberger, Wassily Kandinsky and Phillip Guston as well as contemporary artists Gilbert and George, Keith Tyson, Robert Pruitt and Jim Lambie. Her work is collected widely across the Globe by private and corporate collections.
Gilbert and George once said of Misha’s work that it was like ‘A cross between Caravaggio and Disney.’
Milovanovich meticulously layers and observes many di erent painting techniques. Her work has as much to do with a sense of formal composition and jazz music as it does the primeval throb of the universe. Misha’s practice investigates the human condition at the intersection of cultural waste, lust and the politics of narcissism. Her new paintings are a series of orgasmic explosions – detritus and desire rendered as a coherent set of images.
Inspired by what surrounds her, Misha’s work is as much to do with the History of Art as it is with low brow celebrity-obsessed modernity. Her new body of work is in uenced by Ashile Gorky and De Kooning – who sought to retain sculptural contours and the “bulging, twisting” planes of traditional gure painting- and by our more recent objecti cation of the female form through pornography.
Hilma Alf Klint, Louise Bourgeois, Sue Williams, Cecily Brown and Beatrice Mihalzes have also been some of the important influences on Misha’s artistic development in recent times. Misha’s new paintings draw on her astute observation of the human condition and an awareness of the physicality of our emotional states.
Pornographic calligraphy oats above a writhing mass of biological forms and cultural detritus. Underpinned by a playful imagination, her paintings move through di erent states of transformation and call to mind an unstable world in ux. Concerned with the e ects of emotional degradation and human disposability and fallibility, Misha’s works nonetheless harness a sense of joy in our ability to adapt and evolve, seeing beauty in bodily function and emotional tumult.
Her paintings are meticulously orchestrated layers of airbrush, acrylic and enamel. They are erudite, hallucinatory explorations of public and private obsessions.
122 × 96 cm
122 × 96 cm