The initial driving force in the works of Marija Djakovic is always feeling. The artist speaks directly, relying on signs. But beyond the signs speak strokes, meaningful accumulations of color and composition. The result is always vision, and not visible. The artist is not interested in the ambiance, the shape of the motif, or the position; she chooses the motif as a starting point, as a battlefield on which she can speak intimately. We can experience this series as a kind of diary. Sometimes gesturally, sometimes calmly, we read mood notes in sequence.
In her works, we always find the motif of a woman, a domestic or mystical animal, and the ambiance’s indications. The motifs are recorded in an exalted or relaxed but often astonishing movement. They act oneirically as if they are with themselves somewhere in the subconscious realm. These women can be muses, goddesses, witches, or girls. They have no interlocutor but have strange company, and we find them in unusual spaces. Their attributions range from mythological to bizarre; among them, we find cats, birds of paradise, cows, and chickens. The subjects are always naked, without shame, sometimes asleep, sometimes in meditation, and sometimes in the position of a woman eager for love.