LITA (Life Is Torturing Awesome) stands for controversial and vibrant expressiveness.


 Being a visual artist, I conceptualize generously, consume consciously, digest constantly and transform vividly! My practice evolved from traumatic experiences, acknowledgement of absurdity of daily life and power of mass culture.


I build my work on interconnected phenomena: conceptualization of the common matter of being, consumption, digestion and transformation.
Considering conceptualization as a natural way of comprehension, constant mental and physical consumption, and inevitable digestion and, as its result, transformation, I visualize these processes in graphic works. Keeping in mind the biological nature of human, I refer to the mental constructions that shape daily life. I examine mental constructs, stereotypes and other inventions from an epistemological point of view as minds are ‘infected’ with concepts, which are perceived as natural, and often used as speculative tools by powerful authorities or being commercialized.


My research leads to experiments in visual poetry and dissection of norms – recycling mass media images and printed conventional cadavers. Looking into gender inequity issues, taboos and sexuality I aim to provide an alternative view on body and power. Designing multi-gender creatures, mediating to reveal the normative, I use collage practice to transform mass media culture into awareness. I work towards broadening perspectives by speaking out the significance of non-commercial values and questioning the artificial nature of social constructs.


I’m deeply perceptive to pain and I identify it in myself and detect in others. Humans are fragile species and I find it crucial to acknowledge the pain and perceive it as a transformative tool. Suffering is unavoidable and there are infinite reasons for it from abuse and physical trauma to uncertainty and void. In my art I transmit the beauty and vibrancy of pain as a way to accept and eliminate it.


Ergo, physicality is my main focus in painting and mixed media works. My distortive paintings and graphics bear traces of sticky encounters. Using edible substances as a metaphor, I experiment with custom-made natural inks and portray vulnerability over the looks polished by frameworks and assigned social masks. A semi-abstract dialogue, which cannot be verbally translated, takes place and lusciously penetrates the viewer turning into bitterness. It is time to digest. Through a vibrant palette I entice the viewer to the surface; then the trap reveals itself – disfiguration and anguish which accompany existence and we better accept them, rather than avoid. I reflect on finding a therapeutic exit and show the deformative normalcy of pain.



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