Djurdjević creates realistic portrayals of surreal, unearthly scenes through which she examines the tension that exists in the everyday. In Moor (2010) two young girls are lying on their backs in the thicket of a moor, their young bodies slightly submerged in water and intertwining with the surrounding vegetation. Their gaze, empty and dark—as if looking into the abyss—is frontally directed towards the viewer. This striking image is an excellent example of the ways in which Djurdjević’s unique lexicon expresses the inexpressible and confronts the veiled intricacies of the collective subconscious.
Using formal tools of classical painting to express the tensions in contemporary society, and with multiple references to the history of Western Art, Moor offers a clever analysis of human nature.
In that violence is implied through artistic tools, the work suggests a new point of view- that of the propagator rather than the victim.