Nevena Prijic earned her BFA and MFA in Painting from The University of Novi Sad, Academy of Fine Arts, Serbia. Prijic immigrated to the United States in 2017. Her work has recently been exhibited at Mrs. New York City, NY; Worcester Art Museum, Worcester, MA; Public Gallery, London, UK; BOZO Mag and M+B, Los Angeles, CA. Prijic lives and works in Los Angeles and has been represented by M+B since 2023. 

What drew you to combine organic forms with technological elements?

My fascination with the transformation of the body and mind, both aesthetically and psychologically, has always been a key influence in my work. As a child, I would often accompany my father, a scientist, both out into the field to examine plants for diseases and in the lab, where I observed his research process. Those experiences deeply shaped how I view the natural world—its fragility and our ability to influence its development. More recently, I’ve been drawn to neural plasticity and how the rapid evolution of technology might impact and reshape the human species.

What message do you hope to convey about the relationship between technology, nature, and the human body?

I see the world as an interconnected system—an ecosystem where every part is linked, and any disruption can have widespread consequences. I’m interested in exploring the biological commonalities across species, beyond the lens of social constructs. Growing up in a country affected by war and sanctions, I felt confined, yet imagining the larger cosmos helped me shift my perspective and have a sense of belonging. Thinking of humans as part of a broader system, where distinctions like race, religion, or nationality fade, allows me to focus on the possibilities of existence itself. My work is about examining how nature, technology, and the human body are deeply intertwined.

Can you share how the history of the Neolithic Vinča culture shapes your work?

I first drew inspiration from the figurine forms of the Neolithic Vinča culture when transitioning from figurative to more abstract work. These figures, with their stylized and almost futuristic appearance despite dating back to around 5000 BC, are deeply ingrained in Serbian history, and I’ve known about them my whole life. They were uncovered in the early 20th century when the Danube River receded, revealing one of Europe’s largest settlements. It wasn’t until a visit home when my father gave me some of his etchings of Vinča figurines, that I saw the potential of combining them with the transparent, cell-like drawings I was working on. This fusion became a turning point in my process. While the figurine forms have since evolved and are no longer visible in my current work, they significantly influenced the direction of my practice.

How spontaneous versus preplanned is each phase of your layering process?

I begin developing ideas for each painting on paper, using just charcoal without any reference images. This initial phase is spontaneous, as I create linear drawings with overlapping forms that build a complex web of interconnected shapes. It allows me to experiment freely, make mistakes, and reconnect parts without the pressure of working directly on canvas. Once I project the drawing onto the canvas, the process shifts significantly. The introduction of volume and color alters the appearance of the forms, necessitating adjustments and problem-solving. This stage can be difficult but is also the most exciting, as there’s always room for mistakes and discoveries that ultimately push the work forward.

What technique do you use to achieve a translucent effect?

I achieve a translucent effect by applying multiple layers of watered-down fluid acrylics using various tools, such as brushes, pipettes, spray bottles, and an airbrush. Each layer remains visible, but its appearance shifts based on what is applied on top. This layering process creates unexpected colors and forms. I use water and gravity to influence the paint’s dispersion, and I control the drips with a heat gun. Initially, I lay the canvas flat, which allows for circular stains, but once it’s vertical on the wall, the paint creates vertical drips. These stains result in textures that evoke surfaces that are weathered, rusty, and shaped by natural elements. All these marks remain visible through dozens of layers of paint applied on top as if they are covered by a transparent layer of skin.

Who are some artists in our modern day that inspire you?

Anicka Yi, Eva Fabregas, Liao Wen, Hannah Levy, Donna Huanca, Emily Kraus, Naotaka Hiro, Katharina Grosse, Matthew Ronay, Ivana Basic, Alicia Adamerovich