The encounter with something that endangers our boundaries with the perceived lack of its own is what Julia Kristeva named abjection. Lack of clear boundaries in the abject defies “identity, system, order” as such and by that logic, they represent pollution, uncleanliness, and dissolution that runs the risk of infecting anyone that acknowledges it. Marked by its active ambiguity, the paintings reflect a position of radical vulnerability that doesn’t shy away or tries to water itself down from the exposure to the Other’s gaze.
Soft edges, sharp teeth, and a colour palette that at first glance seems playful and vibrant, only to uncover a potential rotting of bodies depicted. Similarly,
the subjects of the paintings walk
the fine line between many polarities they
encompass, while simultaneously being almost unidentifiable from their surroundings and background. At the same time inviting and unapologetic, it’s both difficult to look at and look away from the subjects on the canvases, that seem to be placed in the borderless state — between realistic and imaginary, male and female, welcoming and disturbing.
Name: Marko Obradović
Location: Belgrade, Serbia
What would you want to share with the world?
Good vibes only.
What influences you & your art?
I am more influenced by music and film than other visual art. All of my portraits draw a lot of inspiration from female antagonists in cult horror films , I remember being traumatized by Carrie when I was young. I think that stuck with me. But my top three muses would be PJ Harvey, Karen Black and Sigourney Weaver.
If you could change one thing in the world, what would it be?
A lot of things come to mind especially now that everything is falling apart. But I strongly believe in transformation and that it all takes time, so I try not to focus too much on things out of my control. But It would be amazing if we could get some clean air here.