Earth Day Always for Artist Snezana Saraswati Petrovic

Posted on by Diversions LA

In Snezana Saraswati Petrovic’s exhibition Bionic Garden – The Fossils of the Future, environmental activism meets profoundly beautiful visual art. The inclusive, immersive exhibition blossoms with dazzling and delightful sculpture and innovative technology, shaping a garden that takes root in both the mind and the soul.

Inspired by the artist’s own personal experience of escaping civil war in the former Yugoslavia, an impactful dream, and her commitment to ecological advocacy, Bionic Garden – The Fossils of the Future examines the possible dystopian end of the Anthropocene era, but it is not a eulogy; instead, it serves as a call to action.

“I have dedicated myself to continuously learning about new scientific developments and incorporating this knowledge into my art. My goal is to foster a dialogue, to challenge, educate, and inspire others about the necessity of protecting our future and healing our world. This mission is not just a choice; it feels like a responsibility woven into the very fabric of my being, driven by the desire to ensure that Earth remains a home not just for us, but for generations to come,” Petrovic says.

On display June 6th to July 21st, 2024, at Kahilu Gallery in the Kahilu Performance Art Center on Hawaii’s Big Island, the show embodies Petrovic’s continued commitment to, and passion for, saving our planet from potential catastrophe.

The exhibition depicts a future post-human environment containing the remnants of flora and fauna on both land and sea. Inviting viewers into the physical space of her installations and using interactive elements, Petrovic seeks to instill a deep appreciation for the earth and an understanding of the potential loss we face. “What I most want viewers to take away from the exhibition is a deep appreciation for the beauty of our world and an understanding of the potential loss we face. If the viewers leave with a sense of wonder and an awareness of our power to effect change, that would be truly amazing!” she enthuses.

Her work pulls viewers into a mesmerizing world that incorporates fresh flowers and dried plants along with eco-friendly plastics. It is a head mix, a practice of mingling natural and artificial elements which began with last year’s Leaving Eden, curated by myself at Keystone Art Projects in Los Angeles. There she integrated dry palm leaves into installations that created both a fecund Edenic landscape and a lost one. In subsequent installations, she mixed fresh orchids with fanciful plastic vines, inviting viewers into a lush jungle. In Bionic Garden – The Fossils of the Future, she incorporates native flower leis as well as selections of immersive soundscapes that can be chosen by viewers and range from those of bucolic nature to the rush of a Los Angeles freeway.

Over the years, Petrovic’s ecologically themed artworks have evolved from her initial concepts of upcycling and recycling found objects to the use of sustainable alternative materials. Her focus has shifted along with her medium. She’s created installations that encompass issues of ocean acidity and coral reef bleaching, the growing destruction of plastic pollution, and the detrimental effects of rapid industrial and technological development, as well as the effects of overpopulation.

As her subjects have broadened and become more urgent, the artist continues to utilize materials that are increasingly interactive as she urges collective acknowledgment and action toward environmental crises.

“Initially, my ecologically themed artworks were centered around the concepts of upcycling and recycling found objects. I created weaving installations using recycled newspaper ropes that I made by hand. This process was both time-consuming and meditative, providing a direct engagement with the materials. However, as newspapers became increasingly scarce and less relevant, my art practice began to evolve…During a period of self-directed study in Japan, I delved into the potential of alternative materials derived from nature, such as mugwort and felt. This exploration was aimed at developing projects that were not only ecologically aware but also sustainable. The pivotal moment in my artistic journey came while participating in the Kipaipai professional development program on the Big Island. It was there that my focus shifted towards the issues of ocean acidity and coral reef bleaching. This shift was influenced not only by the publicly available data on the Great Barrier Reef but also by my son’s PhD research on coral reefs, which provided me with a wealth of scientific evidence from Hawaii.”

She now brings viewers into a new role as active co-creators, utilizing video and augmented reality to create an infinitely visceral experience that goes far beyond the boundaries of traditional art. Her transformational ability to weave vibrant digital and natural elements together facilitates a dialog with her audience that is resonant both emotionally and spiritually.

Bionic Garden – The Fossils of the Future features four installations: Haiku Envelopes, The Migration Series, Artificial Reality Series, and the central set piece, Rain Forest Whisperers.

Haiku Envelopes is inspired by the idea of temporal bridges which connect us between our present selves and who we might become in the future. Here, Petrovic invites viewers to write notes to their future selves, encouraging a deeply personal form of reflection and introspection that reaches across time to construct an evolving narrative.

In the Artificial Reality Series, Petrovic seamlessly integrates technology with art, providing viewers with a free smartphone app that allows the dynamic animation of static images, bringing her sculptures and settings dancing into motion-filled life.
Rain Forest Whisperers takes viewers directly into a fantastical world hung with eco-friendly plastic vines, dried kelp, and fresh plumeria flowers, the scent of which perfumes the environment. QR codes encourage participation and inform viewers about ecological themes. At the heart of the installation is a “petrified” plastic rain forest built from the artist’s intricately linked signature plastic zip ties and here intertwined with real flowers and plants. These conjoined materials invite viewers to decipher natural versus human-made elements.

“In essence, my pull towards video and AR reflects my broader artistic ambition: to weave together digital and human elements in a manner that prompts introspection about our place in a technology-infused world. My development as an artist in this realm has been nurtured by a combination of innovative experimentation and a personal commitment to exploring the new frontiers of digital art,” she reports.

Petrovic’s abundant use of plastic is designed to provoke questions about our daily contribution to the overuse of the material, while at the same time, her delightful, playful sculptures encourage touch and connection.

The Migration Series further extends viewer interaction, allowing physical alteration to the composition of her artwork. Viewers can both rearrange and document the changes they create to reshape landscape and ocean-scape. It is a participatory experience, in which one may participate in the artist’s deep dive into themes of change, transition, and impermanence. Petrovic asserts that whether voluntary or involuntary, migration is the narrative of our planet, inextricably weaving movement, belonging, and transformation.

Thematically, migration and its impact on the planet and its people is key to Petrovic’s full body of work at the gallery. She depicts a shared global narrative of compassionate closeness to nature, and emphasizes our adaptability, resilience, and collective responsibility toward our planet. Her belief is that all cultures share the fundamental desires to communicate, to love and be loved, and to breathe fresh air, and that these desires need only to be turned toward our relationship with Earth.

Her installations here also reflect her deep affinity to the Hawaiian Islands. Both the concept of the “aloha” spirit and her commitment to advocacy for the preservation of ocean ecosystems are intrinsically at home in this site-specific work for Kahilu Gallery.

The exhibition will include an opening reception that will welcome attendees to the exhibition in a communal atmosphere, a July artist walk through, and a panel discussion also set to take place in July, aiming to foster a dialogue between artists, curators, and the public. This reflective interaction encourages diverse perspectives, offering a multi-dimensional understanding of the art and its societal, cultural, and personal implications.  There will also be Special Visitation Days targeting collectors, interior designers, and students. These curated experiences are designed to cater to specific interests, providing an enriched context for viewing and appreciating the art.

Additionally, a portion of these interactive experiences will be documented and shared online, extending the reach of the exhibition beyond physical boundaries and allowing a global audience to partake in the immersive aspects of the show.

Online engagement for the exhibition will also be key. As Petrovic notes, “With continuous interactions planned both within the gallery space and online, the exhibition aims to create an ever-evolving dialogue around the art. This dynamic approach ensures that the experience is not static but grows and changes, reflecting the gallery’s commitment to fostering a living, breathing cultural exchange.”

Her goal is to fully support Kahilu Gallery in a way that goes beyond just purchasing artworks. “One way that readers and visiting audiences can contribute to the success of the gallery and its exhibitions is by spreading awareness about the gallery and its events. By sharing information about upcoming exhibitions, artist talks, and other events on social media or with friends and family, individuals can help attract more visitors and interest in the gallery, and on a larger scale, continuing a conversation outside of the gallery about the topics that concern us all would be a great help and support for the cause.” To that end, visit the exhibitions website at Kahilu.org/exhibits, and follow them on Instagram at @kahiluexhibits.

Serving as a call to action and awareness, Bionic Garden – The Fossils of the Future is a powerful tool for change and the greater understanding of environmental sustainability. It is also an astonishing and virtuoso series of installations growing, above all else, a vision of alchemic art.

But it is hardly the artist’s final vision on environmental subjects.

“This exhibition marks the culmination of a six-year journey of exploration that began on the Big Island, closing a significant circle in my career. My project on understanding the nine planetary boundaries is an ongoing effort, reflecting my commitment to environmental sustainability and awareness. During my upcoming artist residency at the Torrance Art Museum in Torrance, Calif., this summer, I plan to continue my experiments with mediums and further explore the integration of nature into manmade objects.” Visit Petrovic at TAM starting in June.

“Currently, I’m delving into the possibilities of Styrofoam upcycling and experimenting with homemade bioplastic. These endeavors represent my response to the urgent call for action in addressing environmental concerns. By exploring these materials, I hope to find sustainable solutions and inspire others in the art community to consider upcycling in their work,” she says, describing the work visitors will see her engaged in there.

“My new works, along with my current 3D printed coral reefs, will also be showcased in September at The Loft at Liz’s in Los Angeles for the exhibition “Diverted Destruction 17,” curated by Liz Gordon. Additionally, they will be featured at Wonzimer Gallery also located in Los Angeles,  for the show “Echoes of Voynich,” curated by Marcie Begleiter which will open this fall. These upcoming exhibitions are vital platforms for presenting my latest research and creations, demonstrating my continuous exploration into sustainability and upcycling within art.”

Exploring and experimenting with these materials not only serves as a cornerstone of Petrovic’s artistic expression but also embodies her response to the global need for sustainability. As the artist herself says, “My work might serve as an example of how art can contribute to environmental awareness and action, highlighting the potential of upcycling and sustainable practices in creating meaningful and impactful art. Through this journey, I continue to seek answers and solutions that align with my commitment to protecting our planet and promoting a more sustainable future.”

  • Genie Davis; images provided by the artist and by Genie Davis

Hardly a Bit of Blah in “bLAh bLAh bLAh” at Launch Gallery

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Snezana Saraswati Petrovic and Chenhung Chen both weave. They weave artistic magic. They weave respectively using recyclable plastics and recycled metals and wire.

The result is something fascinating and fabulous in their paired solo exhibitions at Launch Gallery in mid-city. From paintings created from silvery staples to mesh wire basket and bell shapes from Chen to 3D-printed plastic corals from Petrovic, this work is lush and lovely, while also speaking to climate change, lost legacies, recyled materials, and reshaped hopes.

What do we envision for ourselves? Can we recreate the world and make it new again? These artists believe the answer is yes. Petrovic gives us dying and healthy corals in a variety of shapes and sizes, AR viewable images of sealife; Chen provides floral and fauna that are as delicate and sweet as any flower, but are shaped from metal and mesh and copper wire.

This immersive exhibition looks at our realities and issues,  crocheting, weaving, binding, shaping, and forming the new from the old; envisioning the interconnectedness of human beings, our planet, and social constructs that divide and unite us, sometimes paradoxically at the same time.

It is gorgeous art; it is also meaningful, looking at both who we are as a species and what we might be, and what our world may become. Can we shape it more gracefully and wonderfully, as these artists have done?

Dream-like and elegant, this is an exhibition that thrills with its creativity and understated beauty. Using unique materials, both artists shape classically brilliant work that resonates visually and emotionally.

Exhibition runs through March 2nd, so be sure to step inside the terrific web of unique sculptural forms these artists wove.

  • Genie Davis; photos by Genie Davis

Zimmer Frei at Wonzimer: Journey to Home

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Can an exhibition offer something warm, welcoming, and cutting-edge immersive? Well, yes it can. Curated by Snezana Saraswati Petrovic, Zimmer Frei, now at Wonzimer Gallery brings together a cohesive, fascinating group of artists who explore what home means to them, as well as expressing a rich panoply of the experience of emigrating to the U.S. from a different country.

The word diversity has been too often misused, twisted to mean divisive. Here, its expression is just the opposite: the sum of our many different parts, of the blending of cultures and the unique individuality of each, forms the springboard for relationships, art, love, and hope.

The international creators on display have made Los Angeles their home, but still managed to maintain their sharp, insightful voices as they explore the country and city in which they now live, form connections, retain roots in their heritage, and find a place to set those roots down in the new culture of our polyglot country. There are sculptures and dimensional experiential works, paintings and video art,  and performances.  Every piece is tactile and resonant. The curation also makes good use of Wonzimer’s cavernous new space, including it’s towering ceilings.

Exhibiting artists and their original homelands include:

Adeola Davies-Aiyeloja, Nigeria
Alaia Parhizi, Switzerland
Amanda Maciel Antunes, Brazil
Arezoo Bharthania, Iran
Carsten Bund, Germany
Chenhung Chen, Taiwan
Kalpana Vadnagara, India
Katya Usvitsky, Belarus
Marisa Caichiolo, Argentina
Max Presneill, United Kingdom
Nadir G Gergis, Egypt
Snezana Saraswati Petrovic, Yugoslavia
Tom Dunn, Australia

 

Dunn’s black and white video art pulses with energy, humor, and joy; Presneil’s vivid abstract canvas exudes power and light.

Petrovic’s own vine enclosed haven – replete with a “magic” AI mirror that also forms a terrific selfie spot, is rich and green, while Usvitsky’s fabric sculptures are presented here partially suspended, soft and fecund, like a nest on a cloud.

Gergis offers a dark and deep riff on the Coptic icon that speaks to the inner workings of the soul. Parhizi provides richly colored narrative painting that pairs beautifully next to Gergis work.

Vadnagara, working in a variety of mediums including fabric, gives viewers a vibrant palette and involving textures. On opening night, the artist also gracefully demonstrated the creation of nan bread with the gestures of a potter at a wheel.

Chen’s delicate hanging mesh sculptures contrast beautifully to her more solid metal and parts floor sculpture that recalls the shape of a volcano in form.

Bund’s video work is a resonant, shifting piece that moves, flower like, between face and abstract form.

In the foreground, above, is a scroll, hand embroidered by Antunes.

Caicholo creates a grass and earth miniature landscape along with a video installation that interacts nicely with Petrovic’s Edenic recylable plastic zip tie and fresh hanging orchid garden across the room. Also on view from Caicholo is a collection of silver, an assemblage provocatively filled with and using hair, Caicholo’s commentary on heritage, borders, and their transitory, arbitrary nature.

Antune’s textile sculpture and hanging wall scroll both lend an air of profound mystery and magic to her own travelers story. Antunes also created a tour-de-force performance piece, Memoryhouse, which she presented this past weekend.

Davies-Aiyeloja gives us a haunting, purple-hued image of women travelers in a lustrous painting.

Bharthania has a floor to ceiling stunner as delicate and intricate as the wings of a butterfly or a space kite, seen above.

There is also a singular “collage” of sorts in Zimmer Frei, with objects of signficance to each artist laid out in a mandala-like circle around a robe once worn by Usvitsky’s grandmother.

The exhibition title referes to a German phrase for vacancy, evoking that “welcome” or “vacancy” sign and fond memories of travels during Petrovic’s childhood with stays at private homes or B&Bs. This collection of works allows viewers to explore and move similarly with nomadic joy, being equally welcomed as we recall what we have, had, and want in a home, both physically and metaphorically, through art.

The exhibition runs through April 7th, with an artist dinner March 31st from 5:30 to 7:30 at the gallery, followed by short film screenings of works never before seen in the U.S. by Petrovic, Vojislav Radovanovic, and Neša Paripović.

Go get yourself welcomed!

  • Genie Davis; photos by Genie Davis

 

Leaving Eden: Samuelle Richardson and Snezana Saraswati Petrovic

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Climate change has made the idea of leaving Eden, our planet earth, all too real a prospect.  What happens to the flora and fauna, the animal life – including the human animal – if we allow the continued environmental apocalypse to continue? Art has often stood in the forefront of calling attention to and presenting an action call for salient issues. It has awakened viewers to the necessity for change, to the beauty of the world around us, and provided a sense of hope for the future. So, too, does Leaving Eden, coming February 11th to Keystone Gallery in Lincoln Heights.

The collaborative exhibition between Samuelle Richardson and Snezana Saraswati Petrovic will fill viewers with the joy of Richardson’s expressive textile animals and Petrovic’s immersive flowers, trees, and glistening waters. Gallery visitors will move – as the flourishing creatures and landscape in this art world do – from their lush, green, and blue Eden to a dry, desert world, where all life must struggle for food and water — with hope that they can return to Eden again.

Divided into two rooms: an Edenic garden and a desert filled with Joshua Trees and cacti, the two artists have combined their gifts to create a vision to cherish and consider, one that expresses the beauty of nature and our vital need to protect it.

Richardson describes the journey viewers will take as a circular one, revealing what it is like to live in and leave our Eden and then try to create a more “pristine world…a circular journey back to square one [where] flora and fauna prevail.”

Petrovic says “As an immigrant, I am in search for an idyllic version of the home that I have lost due to war. My realization was that the real home for all of us is the Earth, and for me, it represents Eden, the most diverse and idyllic garden of all.” To prepare for the exhibition, she began to draw studies of plants in Huntington Gardens, Joshua Tree, the Salton Sea, and Oahu, Hawaii. She adds that mythologically the “idea of Eden is connected to the human need for a place of immortality,  an ideal place for human habitation with lush beauty, and it exists not just in Christianity but… is [expressed as] Jannāt ʿAdni in the Quran or [as] Pure Lands in Buddhism…in all of these gardens, there are always references to infinity and transformation.”

Both artists express that sense of transformation in their work. For Richardson, “New work begins with a mental picture of the subject, then I research pictures that express the type of character I want.  I build up each figure in stages to achieve gesture and expression, working with the pictures as a bridge to discovery.”  Here you will see lions, birds, wild dogs, and even a few humans created by the artist.

Petrovic was in part inspired to create her mixed media sculptures of zip ties and dry natural plants from references to the Byzantine traditional blue depictions of Eden, with video installation elements culled from her Oahu and Big Island residencies, while the desert installation was inspired by the Salton Sea and it’s “white shore with fish skeletons turned into mineral dust,” and uses a white, orange, and blue palette – skeletons, sun and sky – in her work in the Desert room.

Visitors to the exhibition will also be able to interact with some of Petrovic’s work through AR and the use of iPads in the exhibition or through their own smart phones. The AR depictions reveal dry dirt transforming with a live, growing seedling, what she calls a “symbolic shift of the wheel of fortune from global catastrophe to renewal and healing.”

Richardson and Petrovic greatly enjoyed working together on this project. “It’s uncanny how much Snezana and I have in common regarding our worldview and how we have advanced as artists.  Our collaboration also included outings to Huntington Gardens to observe and compare our impressions on nature,” Richardson says.

Petrovic relates that “We would immerse ourselves in different parts of the gardens, and have conversations related to the nature of different environments, desert versus rain forest. We were looking at the shapes and relationships between flora and negative spaces…we shared some images of our previous works and investigated the works of Henri Rousseau and Hieronymus Bosch.”

She adds that “Sam’s dogs, tigers and birds are bringing my environments and sculptural installations to life. I cannot wait to see all of them being brought together into this unique project!”

Richardson brought to the exhibition new ideas inspired from a recent residency in Rome, and a fascination with the Etruscan culture, which Petrovic also finds compelling.  “We both agree that our creations are coming from the ‘same world’ of connectedness to feminine history as well as our own past design experiences. Sam’s fashion industry experiences brought a deep understanding of patterning, fabric and thread use into her sculptures. My interest in the relationship between space versus object is from professional experience as a production/set and costume designer,” Petrovic relates.

Richardson has added to her wire, foam, and fabric sculptures – with the “fabric covering my work emulating glaze on ceramic” with a new artistic expression – in woodwork. “I am building shapes that resemble boats, joining and cutting pine lumber [for the exhibition.]”

Petrovic has included her latest experiments in organic bioplastic, also using dry plants and palm leaves in the exhibition. She says taht she has long been driven toward reimagining the future, beginning with a residency at the Pomona Art Colony under Judy Chicago examining the “current and future scientific predicament of global ecological catastrophe…if we do not protect our home, there will be nowhere to go. Leaving Eden was a natural progression of my exploration of gardens and homes within the looming danger of climate change and plastic overuse.  It added another layer to my imagined world of the future. I see this whole experience as a love poem to the Earth, our own impermanence and existence that might have a chance for a replay.”

Richardson, Petrovic, and I, as conceptualizing curator, all encourage you to visit our Eden and its aftermath and look toward that replay, one which our world all too dearly needs.

Leaving Eden holds its opening Saturday, February 11th from 6 to 9 p.m.; an artist’s talk and closing event will be held Saturday, February 25th at 4 p.m. Additional gallery hours Thursday-Sunday by appointment.

Keystone Gallery is located at 338 S Avenue 16, Los Angeles, CA 90031

  • Genie Davis; photos by Genie Davis and Samuelle Richardson