Works on intersections of visual arts, statistical physics and acoustics. Her work focuses on the processes of cybernetics, oscillations, refraction, and the notion of (cyclical) generativeness, using media such as drawing, installations, painting, sound, and code
Anja Tončić (1996, Belgrade) finished BA studies in 2018 as well as MA studies in 2019 at the Faculty of Fine Arts in Belgrade, both in the Department of Painting under the mentorship of professor Mileta Prodanovic.
She was elected as the pre-eminent student of the generation in the 2019 of the Faculty of Fine Arts in Belgrade. Since 2013, she has been participating in more than 70 group and 10 solo exhibiting projects in Serbia and abroad. She received 12 awards for her work so far. From 2019, she is the representative of the Rectorate Council of the University of Arts in Belgrade. Since 2018, she has been actively collaborating with the X Vitamin Gallery in Belgrade. Since 2020, she is under the Status of an independent artist.
Tončić's practice includes a variety of media, including drawing, painting, graphic techniques, objects, photography, animation, mosaic, as well as applied physics in the launching.
She lives and works in Belgrade.
Conventional optical components rely on the gradual phase shifts accumulated during light refraction to form a motion reflex. New degrees of freedom are achieved by introducing sudden changes of stages in the scale of visual wave values, and such a two-dimensional array of sensory resonators can imprint discontinuities as it crosses the boundary between the two offered emitters - representation and prehension. Anomal reflection and refractive phenomena are observed in the work Form Factor in optically thin line sequences. Phase discontinuities provide great flexibility in molding illuminating beams, which she used to conceptually challenge an inert position of traditional drawing, which is generated on a formal-stylistic level through the representation of motion-image, a shape that is fluctuating although limited by the conventional framework of a classical medium.
Motivation, in any form, or at least it should be.
I always use white paper or a blank canvas, a sketching pencil resting on the little finger, the left and right hand equally. The rest always varies.
The only thing I constantly strive for is that none of the recorded elements has a separate consistency or an individual narrative, but they acquire it only in interrelation with all the other variations of the form shown at work.
After 7 years of high school in physics / mathematics and after the academic period of studying fine arts, I re-immersed myself in the scientific environment at ITP, Institute for Theoretical Particle and Nuclear Energy Physics in Vienna, where I stayed as a resident for 10 weeks during 2019 . years. Starting during the second semester of the master's study of painting, I am in the phase of examining my scientific knowledge base from a different, artistic perspective.
Stationed in the laboratory again, I am starting a project not of digital (which in this case would be a "line of least resistance") but exclusively traditional drawing visualization of data aimed at translating the properties of a particle beam - focusing on its inaccuracies and fluctuations - challenging the boundaries of seemingly inert classical media. .
At the moment, I am not defining myself or my practice, not even the basics.
Personally, I believe that everyone is creative in their own way, but artistic self-determination consists in delimiting a certain set of experiences, methods and abilities that someone studies, practices and improves over time. While I largely agree with Beuys ’concept of“ social sculpture, ”I oppose the idea that everyone is or must be an artist. Everyone is able to engage in art, everyone is able to express their innate inventiveness in some way, but being an artist is work - work that requires flow, learning, spite, risk, occupation, versatility, patience and craft.
I do not run away from reality. Confrontation only truly activates me.
Innovation depends on two habits of the mind: attention and curiosity.
The main difference between someone who is considered creative and someone who is innovative is focus. Creativity is the release of opportunities to come up with new ideas, while innovation is about making changes to relatively stable systems by actively doing the work needed to make an idea sustainable.
My only plan is to continue creating and challenge myself to further visual and intermedia moves, everything else will come interactive with each new step.
Understanding the necessity of making mistakes.
In the works of younger artists, articulation refers to the processes of constant re-examination of the position of art and the individual in a social system full of flaws and inconsistencies.
Although using various positive methods of deconstruction, decontextualization and anti-aesthetics, the new generation of Serbian artists often codify the expressions of mostly borrowed solutions that we are bombarded with by the daily consumption of social networks / internet in general.
Although the ideas of defiance, longing, anxiety and deeply personal views are reflected through a range of transmedia research, the point is too often focused on the impression of trying pure provocation, which is not quite that, being lethargic, barely touched and unconvincing.
My conceptual process deals with technological precision, but also uncertainties and functional dynamics of deviations and alterations - areas relevant for studying the basic properties, structure and movement of matter, as well as all forms of shaping creativity and changing the person who creates.