Interview for ArtKvart
This interview was made by Marta Sirotich, the curator of the exhibtion "Terra incognita: Jatun Risba, Ivana Filip and Nikolina Butorac" at Galerija O.K. in Rijeka, Croatia. The same questions were asked to all the three exhibiting artists. You can read the entire interview (in Croatian) on ArtKvart.hr and find Jatun's answers in English below.
What are the main themes in your work and how they have developed over time?
My work primarily revolves around two streams of research. The first examines the medicinal power of art, focusing on projects with a transformative and healing impact for both the human and non-human collectives who participate in or bear witness to the work. The second investigates the idea that art should be nutritious for the bodymind—offering sustenance to our imagination, thoughts, and senses. In essence, I believe that an encounter with a truly meaningful work of art has the power to transform us, leaving a lasting imprint on how we perceive ourselves and the world.
This perspective reflects my awareness of the alchemical power and preciousness of art. I use art as a vehicle to enrich, expand, and illuminate our existence and deepen our understanding of reality. Confronted with the effects of contemporary 'necropolitics,' my artistic practice has been turning inward—dismantling fears and ignorance surrounding diversity—to foster outward, lasting transformations. This approach aims to cultivate spaces, ideas, and conditions that embrace 'otherness' and are conducive to life. In summary, my artistic inquiry is driven by an exploration of the human bodymind and its neuroplasticity.
How does your work respond to the social, ecological, or political
issues of today, and what kind of impact do you aim to achieve through
your art?
The 'generation' phase of my artworks often unfolds organically. I feel a sudden, visceral urge to respond to challenging personal or societal events, such as ecocide, speciesism or gender discrimination. This impulse is usually accompanied by a vision of how to address the issue through artistic means. My goal is to collectivize experiences, solutions, or insights and make them visible and accessible to a wider audience.
I pay attention to every phase of my creative process: from the choice of materials and their environmental impact to ensuring the accessibility of the work. The motivation behind all my activities is deeply rooted in my Buddhist view. My aim is not to achieve a specific outcome, but rather to make the best possible use of my body, speech, and mind in every situation, within the limits of my capacities. This approach allows me to put attention on the (learning) process, regardless of external conditions and manifestations, which are largely uncontrollable.
How important are the materials you use in your artistic practice for
some control the message you want to emphasize?
From winter 2019 on, I have been exploring the vital significance and artistic potential of six essential 'life matters' on Earth: air, water, carbon, soil, chlorophyll, and (menstrual) blood. This is connected with what I’ve already elaborated above when speaking about how my body (of work) is tending towards life-enhancing experiences and imaginaries. I am letting go of my desires and need for control. My practice, instead, involves pulling the rug out from under my feet and finding ease in dancing with unpredictability.
What role do activism and social engagement play in your artistic
practice, and how do you incorporate them into your projects?
Being a female-bodied, queer, migrant Buddhist practitioner and radical artist from the former Yugoslavia, who nurtures a deep sense of love, care and connection with non-human and more-than-human beings, and who has healed from an officially incurable disease (Multiple Sclerosis), is, in itself, an inherently deviant, unconventional, and challenging position or form of being-in-the-world.
That said, I have reached a point where I can no longer separate my personal and spiritual life from my work and social engagement. How I navigate my daily life—my absolute commitment to nonviolence, my daily bodymind practices, and my ethical precepts—permeates, directs, and informs everything I do. After many years of struggling and self-sabotage, I have managed to unite my various passions and activities, being content with who I am and what I’m doing. Though I’m still on the path to actualizing a life and work fully aligned with my aspirations and visions, I now have a clear direction and a wealth of experience and skilful means at my disposal. Therefore, I am confident that, sooner or later, I will manifest them.
How do you perceive the collaborative nature of the group exhibition
Terra incognita, and what does it mean in relation to the themes of your
individual works?
I am excited to present my work in Rijeka and Croatia for the first time and I am curious about how the local audience will engage with my artistic practice. The theme of 'terra incognita' is deeply meaningful to me and aligns closely with my work, and I am happy to be joined by two Croatian female artists in this group exhibition. The artwork I will create live during the opening—comprising two large-scale body prints using menstrual blood and chlorophyll—represents a culmination of my research and artistic exploration in these mediums. I am grateful for the generous assistance of my artist collaborator, Franco G. Livera, in the documentation of the piece.