Aleksandra Kokotovic is an international contemporary artist, expressing through painting, sculpture, drawing, graphics and installations. Alexa entered the art world at very young age and got her first international award for painting at the age of 10.
She has organised 44 solo exhibitions in renewed institutions, museums and galleries and participated in 80 group exhibitions around Europe, United States, Asia, Middle East and Africa.
She is born in Sarajevo. Life on three continents broaden her perception and influenced her approach to art. Alexa is a member of Association of Fine Artists of Serbia (ULUS), Association of Fine Artists of Bosnia & Herzegovina (ULUBIH) and Art Association Diversus Visum (DIV ART).
Graduated in fashion design at Accademia del Lusso. In all her works, Aleksandra deals with questions of existence and cognition that inspires the observer and induces him to review his beliefs.
“With her strong introspective attitude to the world, Alexandra Kokotovic in her art tries to give a visual representation of a person’s true aspirations to master the world, the hidden meanings and secrets of the past. She is deeply seeking answers to civilizational themes, seeking truth as the supreme imperative of the human race. Although it belongs to an era of advanced technologies, technicism and globalism, the sound of which it preserves, it is a nostalgic pursuit of communicating with us by distant civilizations whose symbols are mere benchmarks of recognition.
Alexandra’s paintings are compatible with the modern age and deeply engaged, though with hidden meanings. Below the abstract form, her paintings are dominated by three thematic units, which occupy her: revaluation of civilizational heritage, ecological consciousness and the presentation of spiritual values by means of the visual arts. On large format canvases, Alexandra builds her
abstract temporal – spatial maps of the world in an attempt to point out the need to re – examine known history, which is increasingly called into question by new discoveries. With a juicy pictorial manuscript, Alexa inscribes line systems that intersect the map of human history, where they intersect, materially and spiritually, at one another and finally unite into a single whole.
Although focused on the past, her painting contains allusions to current topics of the day, above all, issues of ecology, alternative archaeology and the latest research in the field of physics. These are the marginal fields of interest, which the author extends to the complex relationship between material-spiritual and space-time dimensions. Whether abstraction is geometric or organic, it always shifts the boundaries of perception, presenting concrete things in the abstract and spiritual, abstract in a material way, finding specific morphology for topics such as breath, essence, elements of quantum physics, or materialization of the spiritual.
Evoking satellite imagery from the air, marked destinations, marking zones or applying transverses, coordinates and parallels are just part of the iconography that points to elements of modern technology that have deliberately entered Alexandra’s, at first glance, quite abstract images. The plays lose the classical division of space into the ground and the horizon; they are framed imagery of satellites, a polygon of micro and macro cosmic perceptions of the planet, a cosmic landscape that records in addition to material and deeper metaphysical significance. These are different levels of correspondence between man, the world and temporal determinants, where the past and the present meet again in certain coordinates, and “portals”, as a frequent “leitmotif” of her paintings, are exits from the world of limitations. Visual integration makes sense of the boundaries set and makes communication between time and space zones possible.
The great variety of the painter’s oeuvre reveals to the author a great artistic capacity, which works with inspiration, which she finds all around. Open to the world, which, in her vision of art, is transposed into the abstract, decoded stylistic expression of Alexandra, she seeks a new vision of things, interpretations and rethinking, addressing the achievements of human civilizations as an inexhaustible source of inspiration. Authentic in stylistic expression, she uses the unity of opposites as its artistic credo, where the pastel tonality of the base is suggested subtly and gently, combined with the brittle, lightning and sharp in the line systems that intersect the play. This dualism is also evident in the impressionistic way of painting the background, in the form of a stain confronting the geometry inherent in the technique of drawing. Allusions to the energy glimpses and influences of information in the flow at the same time add dynamism to the composition and the element of movement, and transmit pictorially to the canvas what is most difficult to paint, characteristic of futurism painting – movement and speed. The colors of the spectrum are refracted in the prismatic world of her paintings, in which they are universally and ephemerally intertwined, always suggesting that there is a spiritual, unknowable world behind the known.
Alexandra is tirelessly experimenting with color, texture and materials in order to produce the expressive suggestiveness of a work. Hence, the hour in short strokes is like a stain, the hour in wide deposits with fillings of jute, marble powder, asphalt and sand in a monochrome sound of brown tones, reminiscent of renaissance sepia, concealing the metamorphoses of the new figuration. These anthropomorphic represen
tations in deformity represent what we can think of as morphological inaccuracy, but the fact that reality and fiction become one. A special segment is the latest series of lavatory drawings, made with a colored paper shower. Unwrapped by academic norms, the author freely plays around with the element of a stain, a line, a move, placing them in a certain space in which the interweaving of artistic elements takes place.
Quite conditionally, the author’s abstract paintings, by their names, are very focused on the recognizable symbols of particular civilizations that hold the key to understanding compositions. These artifacts of human being on earth make directories in the interpretation of images, giving them quite a specific intellectual context.”
Art critics & Art Historian