topographic


series of 4 works. acrylic 6 x 4”, 2023.

 The 'topographic' series is an autoethnographic art collection delving into the effects of climate degradation on both our ecosystems and us. By reassessing the changing landscape due to rising sea levels, melting ice caps, and environmental damage, these pieces challenge our existing perceptions. Both the landforms and the inhabitants endure suffering. Unfortunately, the voices of those most affected frequently go unheard, as influential industry leaders overlook their substantial hardships. It is imperative that we swiftly and compassionately redefine and tackle these pivotal changes, prioritizing solutions centered around people's well-being.


the minotaur came and I surrendered


series of 4 works. acrylic 6 x 4”, 2023.

These works delves into the harrowing journey of individuals caught in the throes of abuse, symbolized by the enigmatic presence of the Minotaur. Through these haunting artworks, Zlatar explores the profound vulnerability and disintegration of self that victims of abuse experience as they succumb to the relentless demands and desires imposed upon them by others.

Zlatar aims to navigate the complex emotions and psychological turmoil that ensue when one's identity becomes subsumed by external forces, offering a poignant commentary on the enduring struggles faced by survivors of abuse.


i go where the river flows


series of 4 works. acrylic 6 x 4”, 2023.


These works are autoethnographic pieces that delves into the realm of transcendental migration and displacement. They capture the essence of my artist's journey and exploration of belonging, identity, and the pervasive emotion of fearfulness.

The piece serves as a visual meataphor for my constant state of  movement and adaptation, mirroring the ever-changing nature of life and my continuous search for a place to call home.

Fearfulness, is as an underlying emotion, permeates the artworks. It represents the uncertainty, vulnerability, and apprehension that accompany displacement. Through the surrealist lens, fear becomes a transformative force, encouraging introspection and growth. By confronting our fears, we gain the ability to redefine our understanding of ourselves and our place in the world.



the world, the flesh and the breath



series of 7 works. acrylic 6 x 4”, 2023.

As an artist, I am constantly exploring the complex relationship between the self and the other. In my latest series of autoethnographic paintings, titled "The World, The Flesh and The Breath," I delve into the deeply personal and often painful experience of body dysmorphia. Through these works, I seek to examine the ways in which we stretch and distort our bodies in order to fit into society's narrow definition of beauty.

Drawing on the theory of abjection, I explore the ways in which we reject and disfigure our own bodies in order to conform to societal expectations. Through the use of bold colors and fluid brushstrokes, I depict the emotional and physical struggle of living with body dysmorphia. Each painting represents a unique perspective on the self and the other, inviting the viewer to consider their own relationship to their body and the world around them.

At the heart of this series is a commitment to vulnerability and authenticity. Through my own personal experiences, I hope to open up a dialogue about the ways in which we relate to our bodies and each other. By confronting the discomfort and shame associated with body dysmorphia, I hope to inspire others to embrace their own imperfections and find beauty in the diversity of human experience.




we faced eachother but I could not see myself


Sub Series: series of 3 works/ series of 4: The Passions of Self. acrylic. 6 x4“ 2023

These works explore the experiences of migrant and displaced women who struggle to establish a sense of identity and belonging in a new country while also preserving their former selves. These women face significant challenges in reconciling their past and present, particularly in dealing with the trauma and dislocation that often accompanies displacement. The title highlights the tension that arises when individuals feel disconnected from their surroundings and the people around them, despite being physically present. The portrait offers a powerful examination of the complex emotional and psychological landscape of displacement and the impact it has on a person's sense of self, safety, and wellbeing. Ultimately, the portraits underscores the importance of recognizing and valuing the experiences of migrant and displaced women and providing them with the support they need to heal and thrive in their new homes.




I will give you all that I have and all that I am 


pair of 2 works. acrylic. 6x4” 2023.







These pieces delve into the intricate challenges inherent in relationships, exploring beyond surface-level dynamics to unveil the profound toll they can exact on individuals within a couple. They illuminate the deep-seated suffering that loved ones endure as a testament to their commitment, highlighting the vast emotional and physical challenges they grapple with in their relentless pursuit of a harmonious connection.



a glimpse behind the blood


The Red House Period Museum, Taipei Taiwan, 2022.
series of 20 works. acrylic. 6x4” 2022.

These works explore my personal menstrual experience, focusing on the intertwining of "disease", "fragility", and "real" aspects of menstrual issues in hopes to share how complex and diverse today's society recognizes. My work uses an auto-ethnographic method, to constantly explored my own experiences through multiple themes such as menstruation, culture, gender identity, and mental health. In the work, the viewer is invited to view menstruation in a variety of ways from their inner voice and memory through cross-cultural dialogue - looking back, taking care, prying, gazing.






asylum for the unwell


Folger Institute: Artist Research Fellowship
series of 10 works. acrylic. 6x4” 2022.

The Folger Institute Artist Research Fellowship provided significant primary academic research alongside ample support for my artist production which examined the cross-cultural and historic narratives of mental illness. Upon analysis, there were immense similarities in terms of who is creating the dominant narratives. Drawing from Michel Foucault those in a position of ‘expert’ i.e doctors, playwriters, and religious leaders are the sole authorities in the field. The ones who exert power also render the representations on behalf of those with mental illnesses. Foucault stated that “knowledge is not for knowing: knowledge is for cutting.” Perhaps that is where my art emerges. I see the dichotomy of this struggle to counteract the dominant narratives in both the historic and modern discourses. Through my artistic investigation, I examine the lived-in experiences of well-being from an insider perspective. Rather than authoritative figures leading and dictating what it is like to experience an illness, those with that lived-in experience are the ones who have a depth of insight to contribute to the discourse. My art aims to juxtapose this power construct, through embodied understanding for vulnerable individuals.

‘where can we go when our unwell bodies are not our own?’ - a. zlatar




refuge for the oppressed body


series of 20 works. acrylic. 6x4” 2021-2022.

Whether ungendering is a form of protection against the perils of the external world or a way for internal refuge. Those with eating disorders seek the comfort of controlling their bodies. It may be a flawed attempt to exert some sort of agency in this world, but it should be noted. When the body has become violated perhaps the only way to cope is to build walls and protect one's self. It is not something that is inherently positive, but it helps people survive; it provides refuge. These works explore this concept of asylum through the body.



one body my body no body


series of 20 works. acrylic. 6x4” 2021-2022.

When living with an eating disorder my central problem was not so much the external physical ramifications of the illness, but rather the internalized psychological and emotional struggles that I have experienced. My insider artist-researcher approach is pertinent within these works since there is much need to give voice to those inflicted with eating disorders and to counterbalance the detached ‘clinical’ perceptions of the illness. The reality of living with the ‘inner torment’ deriving from these diseases is unbearable. It is incredibly difficult to express how having an eating disorder can impact the self-identity and self-image of someone who is ill. My art emerges from this personal experience of these eating disorders and how I represent my body within my artworks.


 


a serbian renaissance


series of 11 works. acrylic. 6x4” 2021.

My artwork is deeply influenced by my heritage and my personal experiences with mental health. Growing up, I was surrounded by the rich cultural traditions of my family and community, which instilled in me a deep sense of pride and connection to my roots. However, as I grew older, I also began to grapple with the ways in which my heritage intersected with my mental health.

In my cultural heritage, emotions are normally supposed to be repressed. My family never spoke of mental health and women were known for being more emotional and our tears have often been invalidated. My works are exploring key historical Serbian paintings of women reimagined and rendered to embrace me, my illness, and my tears to shed light on the ways in which cultural expectations and traditions can sometimes conflict with an individual's personal well-being. I believe that it is important to acknowledge and honor the ways in which our cultural backgrounds shape our experiences, while also recognizing that it is okay to seek support and care for our mental health.

By sharing my own story and the stories of others, I hope to create a space for open and honest conversations about the complexities of heritage and mental health, and to encourage viewers to embrace their unique identities and seek out the support they need to thrive.


man of desire


series of 5 works. acrylic. 6x4” 2021.
University of Nottingham and Creative Reactions Nottingham: Pint of Science, June 2021

This collaboration with researchers Dr Belinda Winder and Dr Micheal Underwood explores the portrayal of Sex offenders and how society often neglects their underlying struggles and does not give them the compassion and care these people need to recover.



war torn


series of 5 works. acrylic. 6x4” 2021.

War Torn explores the gruelling reality for countless young children who are caught up in a world, not of their own. These works explore some of the psychological hardships they endure and the need for disarmament worldwide. The paintings strive to give a louder voice to children who need it.



the monsters are alive


series of 50 works. acrylic. 6x4” 2020-2022.

‘the monsters are alive, is a stunningly poignant sequence of artworks, that tell the story of struggles with mental wellbeing, sorrow, memory, and new freedom. In this profoundly intimate telling - my works take you through memories and stories accompanied by stunning painted masked monsters that guide you through my fragile wellbeing. The works explore themes of the feeling of invisible and despair that come when we are no longer able to feel well.



americana


series of 20 works. acrylic. 6x4” 2020.

Americana seeks to explore the glorified perception of the past and the preference for nostalgia over the future. Countless individuals do not really want to progress and rather live in brightly coloured and warm memories. However, it is a dichotomy of the pervasiveness of nostalgia-based media (reboots of old fashion, products or films’), and the misrepresentation of the past as being better. We are often drawn to the glory days, and the simpler times, but was it really all that good? Because of this, does it mean that enjoying the past means that we can not be comfortable with the present and unwilling to admit that the past was not all good?




here is the church, here is the people


series of 10 works. acrylic. 6x4” 2020.

Here is the church, here is the people artworks are inspired by my lifelong fascination with religions and cults. From my own personal struggles with eating disorders, I viewed it similarly to a religious community. It can indoctrinate individuals with the media-saturated perception that life is better if you follow the "cult of thin". Eating disorders make you abide by their commandments and influence your beliefs and cultural identity. Unless we learn to separate church from state (mind from the body) we will be proselytized in the church of our suffering.



the last exotic


series of 22 works. acrylic. 6x4” 2020.

The Last Exotic is a painting archive made from real photographs, artifacts and clues from a diversity of cultures to create a fictional narrative to document human life and the many different forms and lived in experiences. This work plays with the concept of truth in visual representaiton of the historic culture. We take this "Last Exotic" from far away places and the lives of people that stay behind. However, we often frame the narrative to fit our perception of these lands. People often fantasize of the past and idolize stories, feelings and impressions of these exotic and mystic ancient cultures. We are hungry for sense of unfamiliarity and incompleteness and imperfection of life to make us feel more disconnected to neolithic civilizations.



the last yugoslavia


Recovering Voices: Smithsonian's National Museum of Natural History
series of 10, 8 x 10”, collage, 2021.

In an era of globalization, it might be thought that the age of the nation-state is dead and that conflicts surrounding national identity will be less and less important in the twenty-first century. However, it can be argued that concerns over national identity are by no means a thing of the past. Those who live in Modern-Day Serbia, are competing with the past of the former state. This has eminent repercussions on the current climate. The current architecture and social representation of Serbia have been implying decaying remnants of former socialist glory.

I utilize the physicality of the budlings and their historical significance (such as Hotel Jugoslavija) to meditate the how I perceive myself through physical place. While Brutalism is famous mostly from the former Yugoslavia the remains are re-examined through following cartographic images of the mountain ranges existing in the land (Kulić, 2019). The graphic renders of the Serbian mountains and architecture give the authentic and rooted representation of the current landscape while redefining and creating a new identity for those who live in a former-socialist Yugoslavia.





commissions and collaborations


I have had the honour of working with a diverse group of individuals and organizations such as the Royal Air Force, The Diana Award, The Queen’s Jubilee and many more.






Ally Zlatar // allyzlatar@gmail.com // @allyzlatar

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