Garaža Kamba

Three artists turn to the body as a tool for introspection. It is simultaneously a terrestrial anchor and a boundary between the self and the world—a mass of living matter inscribed with its intimate history.

Luisa Pascu selects found ceramic tiles as the base for her paintings: utilitarian objects that evoke the poetics of the everyday, their materiality earthy and fragile. We do not know who the previous owner of the ceramics was—what private lives quietly unfolded within the tiled walls and floors?—but Luisa collects them and uses them as a foundation for honest and vulnerable depictions of her own daily life. Through shifts in perspective, she explores the relationship between the body and subjectivity, painting views of the body from angles visible only to its owner, then descending to the level of shoes. Through an investigative approach to figuration, the artist becomes aware of her own body in space, the space it occupies, and the external gaze that lands upon it.

Palmina Roglić embarks on a calculated regression. Fascinated by the mind’s infinite capacity to fragment and find meaning, she engages in an irresistible act of introspection, summoning painful and transformative periods of her adolescence. She traces the elusive currents of the subconscious. Palmina redefines painting through the sense of touch, employing tactile materials like wax and plaster. Instead of a two-dimensional depiction on a surface, her work becomes an object that carries materiality. The matter, as the artist imagines, contains an almost magical essence. Like the works she creates, it exists in a constant process of destruction, transformation, and ultimately—the formation of meaning from fallen fragments.

Božica Marukić devotes herself to collecting clay, stones, and sand from various locations. In her search for connection and the essence of life, she identifies the earth as primal matter—marked by the endless flux of nature and charged with transformative potential. Each sample is a witness to millennia of geological processes, where Božica finds an almost Taoist wisdom. Through a tactile process, she establishes a close relationship with natural materials; she examines, shapes, and layers the clay onto clean geometric forms. Working with primal matter becomes an act of essential grounding, a return to the essence of life, and an affirmation of the importance of physical contact in understanding reality.

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