Serbian Maja Djordjevic's (b.1990, Belgrade, Serbia) unique artistic approach, characterized by a digitally-native aesthetic sensibility and a mastery of computer-generated visual syntax and digital manipulation, is deeply rooted in the legacy of deskilling, net art, and feminist figuration, with a particular focus on harnessing the power of female expression and creativity. Djordjevic's work becomes a testament to the strength and resilience inherent in feminine narratives, challenging traditional norms and contributing to a contemporary discourse on female empowerment in the art world.
Despite their digital appearance, Maja Djordjevic's transformative paintings are meticulously crafted with oil and enamel on canvas, devoid of tape, projectors, or special aids. Drawing inspiration from a simple drawing software popular among 1990s kids, she uses it as a visual diary to express herself. Her alter ego, a recurring naked girl in the paintings, serves as a potent conduit for conveying emotions beyond verbal expression. Djordjevic's narrative centers around the concept of fragility, embracing vulnerability as a natural and acceptable aspect of the human experience. Her art becomes a powerful celebration of female strength and vulnerability, redefining these qualities within the context of contemporary artistic expression.
Her work has garnered attention through solo exhibitions like 'Me's on a beam' at Tokyo Gendai, Dio Horia Gallery in Tokyo, and 'The Metamorphosis' at Taipei Dangdai, Dio Horia Gallery in Taipei. Noteworthy group exhibitions include 'Real Fake Door' at Arsenal Contemporary Art in New York and 'The Cuteness Factor' at Ludwig Museum in Köln. Currently, the artist continues to make significant strides in her career, with a solo exhibition coming in early 2024 at Karl Costyal gallery in London. Her work is housed in notable collections, including Mwoods Museum in Beijing, Blanca and Borja Thyssen-Bornemisza Collection in Madrid.