By the means of this exhibition, we present Nina Ivanović’s landscapes in varying formats and techniques in the medium of drawing, with dominant river, mountain and forest motifs. Each landscape acts as one record, note and one sentiment. For the first time on this occasion, the artist uses copper wire varying in tones and thickness by means of which she brings hue to her landscapes. The spatial drawings on view are complemented with paper drawings, which are stylistically and visually different from the wire landscapes. And while the two-dimensional nature of the spatial drawings stand in place of perspective drawings on paper, the abstracted forms of the linear structure and the cavities of the wire sculptures are permeated by the changes in hue of the tonal and colour value.

A specific trait of her practice has been the translation of two-dimensional drawings into sculptural forms, namely, spatial drawings. By replacing the line with wire, spatial drawings have become her trademark artistic gesture and modus operandi, which is instantly captivating and this, in turn, has been followed by prolific national and international exhibiting activity, numerous residencies and an array of accolades and awards.

The Troubled Waters exhibition title strikes us as a paradigm of the time we live in, accompanied by unrest, fears and turbulent events. In a sea of uncertainties, to go with the flow of the times means to become fluid, flexible and adaptable, but also to learn how to ride out the storm. Nothing is solid and stable, and neither are the spatial drawings by Nina Ivanović. Despite being made from armature, iron and copper wires, the forms and shapes are dematerialized in space, becoming, within the contemporary cultural context, visual records of the times, our relationship with nature and its transformations.