Anja Toncic (1996, Belgrade) graduated from the First Belgrade High School in 2014; she finished BA studies in 2018 as well as MA studies in 2019 at the Faculty of Fine Arts in Belgrade, both in the Department of Painting under the mentorship of professor Mileta Prodanovic. She was elected as the best student of the generation in the 2019 of the Faculty of Fine Arts in Belgrade. Since 2013, she has been an active participant in more than 60 group and solo exhibition projects in the country and abroad. She received nine awards for her works, including the Fabriano Gallery (Italy) redemption prize and the "Rista and Beta Vukanovic - Painters' Award" of the FFA in Belgrade. She is the recipient of a scholarship for young talents from the Ministry of Education of Serbia, as well as a scholarship award for the most successful students of Serbia of the "Dositeja" fund. From 2019, she is the representative of the Rectorate Council of the University of Arts in Belgrade. Since 2018, she has been actively collaborating with the X Vitamin Gallery in Belgrade. She has been a member of the Association of Fine Artists of Serbia (ULUS) since 2020. Her works are in the collections of X Vitamin Gallery, OSTEN Gallery in Macedonia, Fabriano Gallery in Italy, Degen Gallery in Basel, Steps Gallery in Tokyo, Deloitte financial company in Belgrade, as well as in private collections in Serbia, Austria, Switzerland, USA and India. She lives and works in Belgrade.
Composite artistic relations created as a product of the study and influence of physical theories on fluid dynamics, subatomic phenomena, theories of refraction, cybernetics and interventional combinatorics set a paradoxical mix of organized chaos that gradually summarizes the constructive elements of the offered scene, as well as all features of decoration and functions. The concurrence in the simultaneous painting processing and drawing principle of dense concentration of line relations has the goal of emphasizing the destabilization of perception during rotational motion by using visual methods of experimental electromagnetic interactions and wave-transmitterings. The linear approach to the cyclic movement and the illusion of rotational motion on a static surface known from the methodology of futurism and later op-art, leads to the conceptual challenge of the inert position of classical drawing, which is generated on a formal-stylistic level through the representation of moving images, although limited by the conventional framework of the classical medium. With this series of drawings and paintings, the author presents kinetic visions of the symbolic whirlpool as a platform for universal confrontation by studying the basics of acceleration and aerodynamic resistance, with the intention of artistically integrating resulting movements, rhythms and vibrations. The interference vortex of re-examined rhythmicity leads the whole depiction by absorbing the surrounding visual elements into its own violent organization of mass, volume, oscillations, as well as the reciprocity of contrasts, while using the seemingly limited mobility of drawing method as a mean of shaping and expressing opinions and attitude about the exact composition and provoking the formulation of the question about the problem and/or the phenomenon of the resistance itself as an originator and a necessity.