About Jana’s artwork

About Jana’s artwork

From the emptiness, from the nonexistence, in which fighting for “mercy of modeling”, emerges the miraculous world of Jana Stojakovic, in the different shapes, on the various waves of the same, underground, mad, pulsing passion for creating a meta-language, for communication that comes from the regions of the inexpressible and goes back to the same. The concrete, urban paranoia in this work intersects with the research of an almost cabalist nature, where organic and industrial side of the nature, interlace in an inextricable coil, as a voice from the dark that speaks the words in an ancient, lost language, followed by the hollow sounds of the machine’s superstructure. After the engineering in which has linked different features of the future sceneries, Her personal Cabala rose from the dead, many different creatures. Her work is a free movement through the holdings of the different motives, a call for a play, a call for a voyage through a dark labyrinth and for a dramatization of the visible and predictable reality, for make-up and fancy dress-up of elements which obtain a new appearance and new meanings after her influence. Above all they become interesting and ready for the magical party.

Her oil on canvas “Ilizarov Fiksator” represents an arche-picture of that world, a core around which the past and future scenes are gathered, all images of the night mares and hallucinations. These works are released from the linear time flow, whereas time, in its function of a rational controller, in this case is abolished. Characters, persons, beings who are presented in her canvases and drawings, in videos and photographs, seems as they meet around an unknown, powerful reactor. These creatures access to Jana’s works in a similar way to how one would be accessed to a closed, occult order, letting oneself to the feeling of sailing through soft and dark water that shapes dangerous waves. The dark load, tense which is presented regardless the motif that is being elaborated, represents the constant of all her works.

Her canvases are perfectly organized night mares, parts of a black hole that we always think about and which existence we can represent only through playing with its parts and their double meanings. Jana’s works show that somewhere in our structure, in the structure of our security, there is a swirl through which everything that we explain to children in schools, and everything to what we force them to believe, leak to unknown. There is only the inner, lunatic, untranslatable, closed system of the frantic self-examination which, in one undetermined moment, can grow into the self-destruction, in the scenery that will, in its culmination of sinking into the essence, blow itself.

David Putnik