Interdisciplinary
Artist
Interdisciplinary
Artist
Suzana Vulović is a Serbian-born interdisciplinary artist, based between London and Belgrade.
Her narrative and autobiographical practice unfolds through a fluid interplay of drawing-painting hybrids, performance, poetry, and research-led artistic inquiry.
Suzana began her artistic education at the High School of Fine Arts, specializing in the conservation and restoration of easel paintings, which provided a strong technical foundation and broad understanding of artistic processes. She later earned both BA & MA degrees in Painting from the Academy of Fine Arts in Trebinje, B&H, in 2024 she completed an MFA in Fine Art with Distinction at London Metropolitan University in London, UK, as a Chevening Scholar.
Over the past decade, Vulovic has presented 16 solo and collaborative duo exhibitions, and participated in more than 30 group exhibitions across Europe and the United Kingdom.
Over the years, through different projects and media she embodied crucial existential themes: loss, love, identity, belonging.
At the core of her practice is the idea that every artwork functions as a self-portrait.
Rather than illustrating personal experience, these elements create spaces where individual memory intersects with collective narratives, inviting viewers into reflective and emotionally charged encounters.
Through process painting, layered materials, symbolic colour, handwritten poetry, and abstraction, each work records an internal landscape while remaining open to multiple readings and shared interpretation.
Drawing on her background in conservation and restoration of easel paintings and two master‘s in visual arts, Vulović combines traditional and experimental materials—including pigment, acrylic, oil paint, wax, pastel, textiles, and natural elements—chosen not only for their material qualities but also for their symbolic resonance.
Writing runs throughout her practice as both process and artwork. Sometimes it emerges as visual poetry, accompanying installations and performances.
He often returns to the idea of the polyptych, not as a formal division but as a philosophy: one in all and all in one, where each work reflects, transforms, and continues another. Poetry and Visual Art compliment each other.
She treats handwriting and poetry as drawing—a trace of thought, a pulse on a surface. The handwritten line carries the same emotional and visual weight as a drawn mark, remaining expressive even when language itself becomes unreadable.
Sometimes writing rises to the surface.
Sometimes it remains hidden beneath the work.
