art | research | about | media | sustainability
A creative professional's self-exploratory study of their experiences with displacement and migration.
series of 4 works. acrylic 6 x 4”, 2023.
![]()
![]()
series of 3 works. acrylic 6 x 4”, 2024.
These artworks evoke nostalgia and the idea of clinging to the places where we grew up, even though they have changed. The land is continually renewed, making us feel out of place, which underscores themes of migration and displacement.
![]()
![]()
![]()
series of 3 works. acrylic 6 x 4”, 2023.
Liminality in this art series is portrayed through the shifting and juxtaposition of body parts with various home environments. At times, elements like hair or racial features appear out of place, emphasizing themes of migration and displacement.
![]()
![]()
![]()
series of 4 works. acrylic 6 x 4”, 2023.
![]()
![]()
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.
![]()
![]()
![]()
where two bodies meet
Ayeesha M Ali + Ally Zlatar , The Ross Lynn Charitable Foundation + NCLAC Gallery, 2021
A dialogue between two female artists creates constructive and mesmerizing works about their personal cultures with each other. They created a new collaboration that transcends Serbian and Pakistani traditions for an opportunity to deconstruct these narratives in a new way.
view project here
![]()
![]()
![]()
![]()
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.
![]()
![]()
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.
![]()
![]()
![]()
![]()
![]()
![]()
![]()
this body of mine
A creative professional's self-exploratory study of their experiences with displacement and migration.
topographic
series of 4 works. acrylic 6 x 4”, 2023.
The 'topographic' series is an autoethnographic art collection delving into the effects of climate displacement on both our ecosystems and us. 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.
no longer home
series of 3 works. acrylic 6 x 4”, 2024.
These artworks evoke nostalgia and the idea of clinging to the places where we grew up, even though they have changed. The land is continually renewed, making us feel out of place, which underscores themes of migration and displacement.
liminality
series of 3 works. acrylic 6 x 4”, 2023.
Liminality in this art series is portrayed through the shifting and juxtaposition of body parts with various home environments. At times, elements like hair or racial features appear out of place, emphasizing themes of migration and displacement.
i go where the river flows
series of 4 works. acrylic 6 x 4”, 2023.
When an immigrant the value of cultural identity can be constantly influx. This piece is an autoethnographic painting that delves into the realm of transcendental migration and displacement. It strives to 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 metaphor 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. Sometimes it is the nation we have our roots in, and other times it is where the wind takes us. The dichotomy creates a pervasive feeling of liminality for those such as myself who have this flux of cultural belonging.
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 as we understand ourselves and our place in the world.
The piece serves as a visual metaphor 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. Sometimes it is the nation we have our roots in, and other times it is where the wind takes us. The dichotomy creates a pervasive feeling of liminality for those such as myself who have this flux of cultural belonging.
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 as we understand ourselves and our place in the world.
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.
where two bodies meet
Ayeesha M Ali + Ally Zlatar , The Ross Lynn Charitable Foundation + NCLAC Gallery, 2021
A dialogue between two female artists creates constructive and mesmerizing works about their personal cultures with each other. They created a new collaboration that transcends Serbian and Pakistani traditions for an opportunity to deconstruct these narratives in a new way.
view project here
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.
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
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.
publications
Ally Zlatar // allyzlatar@gmail.com // @allyzlatar
All rights reserved. Images may not be used without permission of the artist ©2024.
The images on this site may not be reproduced or downloaded.
All rights reserved. Images may not be used without permission of the artist ©2024.
The images on this site may not be reproduced or downloaded.
