Kepler 1, 2023. Linoprint. Dim 57 x 62 cm. Courtesy of the artist.
Liberté 1 (small) , 2023. Linoprint on BFK Rives Paper. Dim 35.5 x 33 cm. Printed by the artist.
Hypatia, 2023. Linoprint on BFK Rives Paper. Dim 28 x 21 cm.. Courtesy of the artist
Ptolemy 1, 2023. Linoprint, watercolour on BFK Rives paper. Dim 27.5 x 29 cm. Courtesy of the artist.
Snjor 1, 2023. Linoprint on Fabriano paper. Dim 29 x 28.5 cm. Courtesy of the artist.
Snjor 2, 2023. Linoprint, watercolour on Fabriano paper, Unique State. Dim 29 x 28.5 cm. Courtesy of the artist.
Ptolemy 2, 2023. Linoprint. Dim 27.5 x 29 cm. Printed by the artist
Galilei 2, 2023. Linoprint on BFK RIves, Unique State. Dim 28.5 x 20 cm. Printed by the artist.
Newton 1, 2023. Linoprint, watercolour. Dim 29.5 x 27.5 cm. Printed by the artist.
Galilei 1, 2023. Linoprint, watercolour on BFK Rives, Unique State. Dim 28.5 x 20 cm. Courtesy of the artist.
Copernicus 2, 2023. Linoprint on Fabriano Paper, Unique State. Dim 20 x 28.5 cm. Printed by the artist.
Newton 2, 2023. Linoprint, watercolour, pencil. Dim 29.5 x 27.5 cm. Printed by the artist.
Copernicus 1, 2023. Linocut on BFK Rives Paper, Unique State. Dim 20 x 28.5 cm. Printed by the artist.
Herschel 1, 2023. Linoprint. Printed by the artist.
Huygens 1, 2023. Linoprint, watercolour on BFK Rives paper. Dim 17 x 15 cm. Printed by the artist.
Liberté, Egalité, Fraternité, 2021. Linoprint on embroidered fabric. Printed at the Cité International des arts, Paris.
Liberté est morte 3, 2023. Linoprint, watercolour on BFK Rives Paper. Printed by the artist.
Liberté, 2023. Liberté, 2023. Linoprint on BFK Rives Paper. Dim 41.5 x 48.5 cm. Printed by the artist.
Truth (Verus 2017-). Lithograph on paper. Edition of 2. The work symbolically mourns the death of the truth.
Hannah Arendt and the banality of evil, Lithograph on BFK Rives paper and silk organza, Edition of 4, size: 28.5 x 19.5 cm. Printed by the artist. Hannah Arendt and the banality of evil (2016-2018) is based on Arendt’s highly controversial banality-of-evil thesis, in her “Eichmann in Jerusalem: A Report on the Banality of Evil (1963). It examines Arendt’s notion of evil as ‘thought-defying’.
Hannah Arendt, 2016-2018. Lithograph on BFK Rives paper. Edition of 6, size: 27.5 x 19.5 cm. Courtesy of the artist. The fragile portrait of Hannah Arendt, as a young German philosopher, has been a starting point for the creation of the series of female portraits Verus (2016), contemplating the theme of truth (verus: true, Lat.).
The Banality of Evil (Verus 2016-2018). Lithograph on BFK Rives paper. Edition of 4, size: 27.5 x 19.5 cm. Printed by the artist.
Anonymous Soldier (Verus 2016-2018). Lithograph on BFK Rives paper, Edition of 4. Size: 29.5 x 18 cm. Courtesy of the artist. Part of the suite of lithographs Verus (2016), the lithograph Anonymous soldier, is based on a photograph of Lam Thi Dep, a Viet Cong soldier who fought in the Vietnam War. It represents part of my ongoing research into the subject of women fighters. The title is paradoxical as the woman fighter has a published name, but the anonymity in the title questions her true identity.
Bosses no like talk, 2016. Lithograph on paper. Edition of 3. Size: 28 x 19.5cm. Printed by the artist.
Macedonian worker (Verus 2016)
Lithograph on BFK Rives paper
Edition of 7
size: 24.5 x 22 cm
Printed by the artist
Courtesy of the artist
The work Macedonian worker (2016), is homage to
all the immigrant Macedonian women who have worked
in Australia for decades. On many occasions I have
interpreted for these women, in my work as an interpreter,
and the words ‘Bosses no like talk’ were uttered by the
women portrayed, as an answer to the question during a
Work Cover Conciliation Conference.
Truth 2, (Verus 2016-2018)
Lithograph on BFK Rives paper and silk organza
Unique state
Printed by the artist
Courtesy of the artist
Mukhtar Mai ( Verus 2016-). Lithograph on BFK Rives paper. Edition of 7, size: 28 x 20 cm. Printed by the artist. Courtesy of the artist. The lithograph Mukhtar Mai (2016-2018), based on the photograph of veiled Mukhtar Mai.
Untitled, 2008. Linoprint on BFK Rives paper, 120 x 3000 cm1 (60 x 60cm per panel), Edition of 4. The work examines the relationship between the subjective experiences of motherhood and the societal and cultural pressures. The content deals with the traditionally idealised portrayal of motherhood (“breast-feeding is bliss”), coloured with the darker aspects, such as underlying fears and anxieties evoked by the perceived fragility of the baby (“I’m a bad mother, I can’t even feed my baby”). The text is drawn from my own experience, the work of psychoanalysts D.W. Winnicott ( concept of ‘good enough mother’ ), M. Klein ( good breast/bad breast) and advice from the maternal and health professionals- "feed, play, sleep". Viewers are confronted with the multiple and potentially conflicting messages that the mothers try to reconcile.
Name day, 2012. Wall installation, linoprints on paper, 45 downstairs Gallery, Melbourne. Courtesy of the artist
From the series "Naming the names" 2004-2020. Linoprints on cut cotton velvet. Dimensions variable. “Naming the names” consists of several female names in different scripts and languages. The most personal aspect of this process was recording the female names in my maternal family (Афродита and Параскева, my great-grandmother's names are in Cyrillic script). I have included four of Freud and Breuer’s famous female patients (such as a pseudonym, Anna O). Female names have been sourced from both ancient and modern historical stories (Магделена, Сирма, Sophia). Ophelia and Julia are just a few of the very well-known romantic and tragic heroines from literature. Some names are homage to women who have been victims of "honour" killing or rape by man in countries like Pakistan (Mukhtar). Names of contemporaries (psychotherapist Jane C. and art curator and theorist Suzana M. have also been included.
Ana Pavlova 1, 2012. Linoprint on BFK RIves paper, 73.5 x 88 cmUnique state
Iris petalum - Madame Bovary, 2011. Linoprint on BFK Rives paper, 97 x 78 cm, Unique state.
Hypnosis (with the snake) 2004-2008. Linoprint on BFK Rives paper, 29.5 x 24 cm (detail). . Courtesy of the artist. These linoprints are part of a series based on hundreds of drawings made of women while undergoing hypnosis at Salpêtrière, believed at the time to be a cure for hysteria. In the linoprints Hypnosis and Séance, based on the drawings from Bourneville, we see a dominant image of a male doctor; the woman-patient is portrayed as submissive, surrendering and vulnerable. I was very much interested in the whole theatrical aspect of these sessions as many women were coached to present certain symptoms.
Hypnosis 1, 2004-2008 Linoprint on BFK Rives paper, 29.5 x 24 cm. Courtesy of the artist.
Seance (closing the eyes), 2004-2008 Linoprint on BFK Rives paper, 29.5 x 24 cm
Seance (with the nurse) 2004-2008 Linoprint on BFK RIves paper, 29.5 x 24 cm
Seance 3, 2004-2008. Linoprint on BFK Rives paper, Edition of 6, 29.5 x 24 cm. Courtesy of the artist
Breuer's patients, 2008 Linoprints on BFK paper, 12 x 19.5 cm each
Fraulein Elisabeth Von R. 2004 Linoprint on BFK Rives paper. Dim 12.5 x 19.5 cm. Courtesy of the artist.
Grace, 2008. Linoprint on BFK Rives paper. Dim 10 x 15 cm. Edition of 4. Courtesy of the artist.
Magdalena, 2008. In Macedonian Cyrillic script. Linoprint on BFK Rives paper. Dimension 9 x 15 cm. Courtesy of the artist
Ophelia, 2008. Linoprint on BFK Rives paper. DIm 8.7 x 14.7 cm. Edition of 7. Courtesy of the artist.
Sophia, 2008. Linoprint on BFK Rives paper. Dim 9.5 x 14.7 cm. Edition of 5. Courtesy of the artist.
Sirma, 2008. Linoprint on BFK Rives paper. Dim 12 x 15 cm. Edition of 5. Courtesy of the artist.
Grafika I, 1991. Etching on paper. Printed at the Ss. Cyril and Methodius University of Skopje (Academy of Fine Arts). Courtesy of the artist
Grafika II, 1991 Etching on paper, printed at the Ss. Cyril and Methodius University of Skopje (Academy of Fine Arts).
Grafika V, 1991. Etching on paper. Printed at the Ss. Cyril and Methodius University of Skopje (Academy of Fine Arts).
Grafika VI, 1991. Etching on paper. Printed at the Ss. Cyril and Methodius University of Skopje (Academy of Fine Arts).
Grafika III, 1991. Etching on paper. Printed at the Ss. Cyril and Methodius University of Skopje (Academy of Fine Arts). Courtesy of the artist.