2018-19 Figurative and Representational Research

In 2018 I decided to return to a figurative objective practice as a way to release myself from the ‘aura of objects’ in the pursuit of minimalism. At this point, I had been living in Montreal almost a full year and managed to receive many of my belongings from abroad as well as from a storage space in Toronto all together in a big enough place to open the boxes. The result was overwhelming because of the amount of emotional feeling that I had for many of the objects (Though I had managed to live without them for such long periods of time) and felt that I was unable to release myself from the memories that many of the object sparked in me.

So, I began painting images of the things which were difficult to let go of. As part of my objective practice this began to include the surrounding environment and urban landscape as a way to subtly ‘date’ the work and then as I began to experience an acute period of loss and grief for the los of others who at one time or another had been close to me so then I began to add clearer figures to my work again after having painted for so long in an abstract sense.

While in the work of the paintings, and in revisiting old works, (some of which were incorporated into this new series) I allowed my subconscious the right to ‘graffiti’ these precious works at will, and to contribute in representation of itself.

radio alarm clock 1

Memorial Painting of my father Mike (Milorad) Lukic 1956-2017.

In September 2018 I started showing this work at USINE 106U in Montreal.

My work was on display there from September 2018 to the end of February 2019 and I was able to show this new series of work as I worked through it. Since showing the process of my work is an important factor to me, this was a great opportunity and I enjoyed the atmosphere and getting to know several of the artists who also showed there for varying lengths of time.


Estimated Line of General Happiness and Enjoyment Since Moving Abroad (To Korea in 2010) for the First Time


This piece is really difficult to take a full picture of as you can imagine.

Estimated Line of General Happiness and Enjoyment Since Moving Abroad (To Korea in 2010) For the First Time, 2016
10 meter scroll
Canvas, spray-paint, markers, crayons
:In Collaboration with Haesook Kim, Laura Veron, Julie Finelli, Hui Ung Jin, and Gyul Jin






Interview questions asked by Leela Bear, August 2016
(In consideration of the (solo)exhibition at Palsa Gallery and Artist in Residency Program at Art Space Jang)

What is the focus of this body of work?

I wanted to use this residency as a platform for exploring what collaboration could look like in my work, mixed in with an element of chance.

The focus piece of this exhibition explores your experience of happiness since moving to Korea in 2010, why did you choose to have other artists collaborate with you on such a (potentially) personal piece?

Happiness is subjective; it changes as your perspective does.  The dates represent times I had traveled back to my home country and were used as neutral markers. I thought that other artists might have specific memories relating to those marked times of the previous years. So, I wanted to encourage those contributors to take part by reflecting on this specific selection of years and dates.

How do you feel Korea has influenced your work?

Korea has influenced my work immensely. I’ve had the opportunity to join several residencies here that have shaped my work. I have been able to play the role of the outsider here in Korea exploring a culture unique to my own, and also looking back at my home country culture in a new context. Korea’s focus on community has played a defining role in my work, and living abroad for an undetermined period of time has influenced the type of support/ surface I use in my work to be of a more nomadic quality.

Art Space Jang Residency 2016


Visual Accessions

Visual Accessions was my one-year undergraduate Thesis project completed in 2010.

Visual Memory Accessions

We live in a world of instants. You can access information in an instant. Things happen in an instant that change the course of your life. This is important because as fast as things happen, we spend our whole lives to reacting to specific live-changing moments. What I am exploring in my work is the reaction to an instant. What happens after moments occur within the lives of people is that they change or resist, but they maintain memories, fragments of information that become locked in their subconscious. In his book, The Psychology Of Picture Perception, John M. Kennedy explains: “Sometimes we read a label or caption before looking at the picture, but more often, probably, we notice the picture first and recognize the pictured object without any help from the accompanying words”. What I am exploring through tactile experiential image making is the concept of a shared consciousness within society. My work is created freely without using reference objects or images. When I work into these images, carving and painting, I am challenging the persistence of memory with the interaction of the present. In the end what the viewer sees in the abstract work is ultimately reliant on their individual visual life experience independent of my implied intention.

You can read the full paper at the link below:

Undergraduate Thesis Project: Visual Accessions, Final Paper

Visual Accessions (24 in Total) 2010, 9/12 inches, oil, encaustic on birch panel



April Presentation_o