The Tondo cycle comprises circular works of varying dimensions that may be understood both as the culmination of a prolonged exploration and transformation of the traditional painting towards the painting-object, and simultaneously as a step towards an ambient and spatial experience. The circle here does not appear as a decorative or symbolic motif in any...
Author: Editor
ROSARY
It was in the late 1980s that Dubravka Lošić began the Rosary cycle, which would eventually become the longest-running and the most publicly recognisable segment of her oeuvre. Rosary begins as a radical transgression of the boundary separating painting from object. Collage and assemblage are no longer interventions on the surface but its very constitutive...
SHARKS
One of the defining threads running through the expansive and layered body of work of Dubravka Lošić is her treatment of her own practice as an open and mutable system. Individual cycles accrue meaning over time, re-enter circulation, and generate new spatial and conceptual configurations. Within such a continuum, the Sharks series marks a significant...
LIBERTAS BELLS
The Libertas Bells series, developed since 2014, stands as one of the most concentrated and monumental expressions of Dubravka’s enduring preoccupation with form as a repository of historical, personal, and material charge. Whereas in the cycle Rosary, energy is condensed into a relief surface, in the saturation of textile and the repetition of sign, here...
IMAGO ANIMA
The work of Dubravka Lošić is shaped by a persistent preoccupation with painting as a place where matter, memory, and inner experience converge. Over time, her works have moved away from any traditional notion of pictorial representation, turning instead toward a materially dense, closed surfaces in which the personal and the collective, the visible and...
RAINS PARIS AND ALBA ALBULA
Although executed in succession, the Rains Paris and Alba Albula cycles form a conceptually and formally connected pair within Dubravka Lošić’s body of work. The two series are rendered in opposing achromatic registers, black first, then white, yet both derive from an identical working methodology, and each is underpinned by the same governing idea: that...