10 Questions with Savina Ražnatović

Savina Ražnatović, born in 1993 in Cetinje, Montenegro, a town steeped in history and fading anecdotes, experienced a deep influence on her artistic path due to her upbringing. With both parents as conservators, her father restoring frescoes, and her mother contributing to the preservation of cultural monuments, Savina was surrounded by art from a young age, understanding its significance as a reflection of society, history, and identity.

While initially pursuing fashion design, life led Savina towards Fine Arts. She studied fashion design in Rome and Belgrade before returning to her roots in Cetinje. In 2021, she graduated from the Faculty of Fine Arts with a focus on sculpting. Her graduation theme, 'Bereshit,' marked a bold departure from traditional figurative interpretations, embracing an abstract representation of the Genesis. This work, heavily influenced by Jewish mysticism, saw Savina articulate the narrative of creation, drawing profound inspiration from texts like the Sefer Yetzirah, Zohar, and Tanya.

Starting with "Restarting" in Budva, Savina gained initial experience in the field of conservation and restoration of cultural heritage. Afterwards, she pursued further opportunities and, post-graduation, joined the MPI Museums of Kotor, specializing in creating commercial replicas of museum pieces using recycled paper and plaster.

Recognizing her true calling, Savina shifted her career focus, fully dedicating herself to her original artistic pursuits with profound respect and love for her craft.

Currently, she is enriching her artistic and intellectual horizons through a Master's program in Curatorial Practice at the Istituto Europeo di Design (IED) in Florence. This new academic pursuit not only expands her educational background but also strategically intertwines her profound art knowledge with contemporary curation practices.

Her determination to apply the insights and skills gained from this program is aimed at enhancing her artistic endeavours. The goal is to create works that resonate with her artistic ethos while also engaging with broader curatorial frameworks and dialogues within the art world. At each step, she weaves her personal narrative into her artistic pursuits, crafting a journey that is as deeply introspective as it is expressively compelling.

www.savinaraznatovic.com | @dzuksy

ARTIST STATEMENT

“My artistic practice covers various mediums, adapting to intriguing themes that spark the imagination. Currently, I focus on collage and digital art, exploring the interplay between analogue and digital manipulation. This fluidity strengthens my work's essence, with certain elements persisting across different media, forming my artistic signature.

At the core of my creations lies a lasting fascination with the hidden, the unconscious, and the metaphysical. Through abstract representations, I explore the profound depths of existence, capturing the ethereal nature of the divine. My art embodies a personal quest, inviting viewers on their own journey of introspection and discovery. Ideas emerge from spontaneous and unexpected encounters, akin to love at first sight. My artwork's materialization is a precise construction executed with unwavering precision and acute attention to intricate details. I believe that true art resides not solely in its final form but in the very process of creation. Whether manipulating textiles, wire, or paper, my central concept remains resolute. An integral element permeating my artwork is the line, intricately weaving the fabric of our physical and metaphysical existence. Through deliberate emphasis, I strive to approach the divine, unravelling profound mysteries.

Inspired by the meticulous craftsmanship and profound aesthetic philosophy of Japanese art, such as the concept of Yūgen, I embrace the notion that nothingness harbours infinite potential rather than being void. It is within this boundless space that my art resonates with profound depth.

Ultimately, my intent is to evoke contemplation and introspection within viewers. Beauty manifests in the process of thought, and while complete comprehension may not be necessary, engaging with my art remains paramount. Each piece offers a unique glimpse into my world, where the line becomes an extension of my thoughts, a profound imprint of my identity, much like an individual's fingerprint.

The sources of my inspiration transcend verbalization, surpassing the confines of rationalization. They exist beyond the limits of linguistic expression, as any attempt at verbalization would dilute their essence. Instead, my artistic endeavours distil these ineffable inspirations into visual representations, inviting others to witness the unspoken.”

— Savina Ražnatović

INTERVIEW

You initially started out with fashion design. When and how did you start getting involved with visual arts?

Back in Rome in 2012, while I was working on fashion illustration, a professor commented, 'I never thought an artist could be a fashion designer.' That made me deeply question my career path. Later, during my Textile and Clothing studies in Belgrade, a sculpting class helped me realize my sense of dimension and form. It was there I said out loud, 'I want to study sculpture instead,' to which my professor encouraged, 'You should.' A few years on, while working at a restaurant, I applied for the sculpting course at the University of Montenegro. The restaurant owner, believing in my potential, made me quit working to focus fully on my application. His support was contributory, and I'm forever grateful to him. Everything fell into place, almost as if it was meant to be.

What, for you, is the most enjoyable part of your art?

I find the most joy in the final stages of my art when the piece is complete. It's fascinating how each artwork tells its own story, often one I didn't consciously intend. It makes me feel like a medium chosen to bring these stories from the universe to life. The surge of inspiration during this process is incredibly exhilarating. It's an honour to be the conduit for these artistic expressions. It truly makes me happy.

Let's talk about your collages. Can you explain what your idea is and how you are working on it?

I don't start with a specific idea in mind. Instead, it's more like a thought or a feeling that grips me, haunting me until it finally makes its way into my artwork. I find that collages are a particularly effective medium. They convey messages swiftly, making it possible to craft an art piece without many interruptions, with sculpting being difficult because the process of creation lasts longer.

Where do you find inspiration for your work, and what is your creative process like? 

Depends on the topic I'm working on. Currently, I'm in a phase where I'm creating sort of a diary from my thoughts, feelings, and general everyday experiences, things everyone can relate to. There's a common apprehension about maintaining a diary: the fear that someone might stumble upon it and uncover our most intimate thoughts, feelings, and secrets. But I present mine visually and symbolically so everyone can find themselves in it. I draw inspiration from life itself. It's overflowing with emotions that, whether positive or negative, we will someday long to experience again. I find the fact that one day we will miss this moment we are living now truly beautiful.

In your work, you mix analogue and digital, creating hybrid works. How did you come up with this style?

Creating collages in an analogue way adds a unique spice; sometimes, the spontaneous twists can visually perfect an artwork. As if the universe itself says, no, this looks better. While digital methods bring a distinct, sharp, and clean aesthetic, I use them carefully, aiming to achieve the specific look I envision for the piece.

Why do you use this visual language? And how has it evolved over the years?

My collages have transformed, becoming simpler with messages that are direct and impactful. This evolution might be the reflection of my artistic maturation, realizing that 'less is more', or perhaps it's just my journey. I avoid overwhelming the viewer and myself visually, prioritizing the clarity and effective delivery of the message. In my early years, my attempts to transfer ideas often led to visual chaos. But growing as a person and an artist, I've gained a clearer vision and the ability to realize it more effectively.

You seem to have recurring colours that you use across different works. What do they represent for you? And how did you choose them?

To me, white and black are eternal, existing beyond the physical realm. Tzimtzum, the vacuum, the void, and Ein Sof, the infinite light. Colors, however, belong to the material world and carry specific energies. My use of colour is deliberate, chosen based on the specific message I intend to convey or, as I like to say, the 'spell' I'm casting.

Your work is primarily abstract, employing organic shapes and lines. What do you hope that the public takes away from your work?

I hope that viewers find their own necessary message in my art. They don't need to understand my intent; it's about their personal interpretation. Like the clarity a tarot card brings or seeing a meaningful symbol on the street, my work aims to spark that individual realization or 'sign.'

What are you working on now, and what are your plans for the future in terms of new projects? 

I'd like to further explore my Komorebi (木漏れ日) theme, especially now that I'm in Florence. I plan to continue my visual diary here, drawing inspiration from the daily experiences Florence offers me. But Florence, being the mother that birthed the Renaissance, is going to be visually challenging for my style of expression. I have to find a new way to express the aesthetic of the Renaissance in my own minimal, unique way. 

Finally, do you have any upcoming shows or collaborations you are looking forward to?

In November, I'm set to exhibit my Komorebi 木漏れ日 collection in Belgrade (Serbia), as well as newer artworks I've created in the meantime. I'm eager for the opportunity to share some of my work in Florence as well, prior to the Belgrade Exhibition. I'm currently balancing my MA Curatorial Practice studies at IED with my art, which means progress on the artistic front is a bit slower. However, I find my current study program highly inspirational, and I'm just accumulating ideas that will burst into creative expression once I complete my studies. I'm also planning a collaboration with the wonderful writer J.M. Smith, author of "Bittersweet Woman", on a unique project, blending my visual art with her poetic words. I'm really looking forward to seeing how this combination unfolds into an engaging collection.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.