Exhibitions

Solo Exhibitions:

  • “Small Format of the Large Painting”, Galerija malih formata, Bol (2023)
  • “De-construction of Stone Form”, Jakšić Stonemasonry Workshop, Donji Humac, island of Brač (2018)
  • “Objects Damage Paintings”, Cultural Centre, Podstrana (2012)
  • “Objects Damage Paintings”, Vitturi Castle, Kaštel Lukšić (2012)
  • “Everyone on Their Own Side”, University Gallery “Vasko Lipovac”, Split (2012)
  • “Dinamismo segnico e valori cromatici”, Galleria Il Borgo, Milan, Italy (2011)
  • “Portals of New Coloured Realities”, Branislav Dešković Gallery, Bol, island of Brač (2011)
  • “Territory”, Špadića dvori, Donji Humac, island of Brač (2010)
  • “Dina Jakšić”, Studio Račić, Zagreb (2009)
    Exhibition in an old quarry near Škrip, island of Brač (2009)
  • Painting Exhibition, Salon Galić, Split (2008)
    “Dina Jakšić”, Martintype, Colonella, Italy (2007)
  • “Compensazioni”, Naboo, Rome, Italy (2006)
    “Bright Colours of Dina Jakšić”, Gallery Capra, Supetar, island of Brač (2004)
  • “Stone Jewellery”, Gallery Sridnja kala, Milna, island of Brač (2003)

Group Exhibitions:

  • “7th Painting Biennale”, Home of Croatian Artists, Zagreb (2023)
  • “Art Night Milna” / contemporary art festival, Milna (2022)
  • “Women in Stone”, international seminar “WinStone”, organised by the Stonemasonry School in Pučišća, island of Brač (2021)
  • “Wipe Away Tears”, charity event organised by the Inner Wheel Club, University Gallery “Vasko Lipovac”, Split (2021)
  • “ZGDW Award”, finalists exhibition, Zagreb Design Week, Zagreb (2020)
  • “Tripun Bokanić Awards”, exhibition of awarded works, Oris House of Architecture, Zagreb (2019)
  • “Stone in Architecture and Art”, RTS Gallery, Belgrade, Serbia (2019)
  • “Animus”, Old City Hall, Split (2019)
    “LoBol”, Karninčića dvori, Bol, island of Brač (2015)
  • “Natura Maris”, Auditorium des Carmes, Vannes, France (2015)
  • “Donations 2012–2013”, Split Art Gallery, Split (2013)
  • “Mediterranean Contrasts”, Gallery Krka, Ljubljana, Slovenia (2012)
  • “Mediterranean Contrasts”, Gallery Krka, Novo Mesto, Slovenia (2012)
  • “Everyone on Their Own Side”, University Library Gallery, Split (2012)
  • “37th Split Salon”, Diocletian’s Cellars, Split (2011)
  • “Split Art Fest”, Aqvarij, Split (2nd Prize for Painting) (2011)
  • “Sea, People, Coast”, Šibenik City Museum, Šibenik (2010)
  • “Croatian-Russian Matryoshka”, “Mirko Virius” Gallery, Zagreb (2010)
  • “Che cosa stai facendo?”, Temple University Rome, Rome, Italy (2009)
  • “At First Sight”, The Westin Zagreb, Zagreb (2009)
  • “Lovre and Dina Jakšić”, Jakšić Gallery, Donji Humac, island of Brač (2007)
  • “I giorni della cultura”, Accademia di Belle Arti, Rome, Italy (2006)
  • “Female Principles in Art”, Galleria J.T & Art, Malmö, Sweden (2006)
  • “Restaurando l’arte”, Villa Celimontana, Rome, Italy (2006)
  • “28th Youth Salon”, Art Pavilion, Zagreb (2006)
  • “Kavadarci ‘06”, Kavadarci, North Macedonia (2006)
  • “I colori del Lazio”, Museo Nazionale delle Arti e Tradizioni Popolari, Rome, Italy (2005)
  • “Dissertazioni sull’incisione”, Centro per l’incisione e la grafica, Formello, Italy (2005)
  • “La notte bianca”, Accademia di Belle Arti, Rome, Italy (2005)
  • “La tentazione della ricerca”, Velletri, Italy (2004)
  • “Arte involontaria”, “Porta blu” Gallery, Rome, Italy (2004)
  • “La mostra in aula”, Accademia di Belle Arti, Rome, Italy (2004)
  • “La notte bianca”, Accademia di Belle Arti, Rome, Italy (2004)

Workshops:

  • “Mapping Living Space”, Jakšić Gallery, Donji Humac, island of Brač (2014)
  • “Brač Stone”, organised by the association Bračke ruke, Mirca, island of Brač (2012)
  • Art programme, organised by the association Budi svoj, Supetar, island of Brač (2008)

Teaching Activity:

  • External associate / teaching assistant the Academy of Fine Arts in Zagreb, course: Life Drawing (2009/2010)
  • External associate / teaching assistant the Arts Academy in Split, Department of Visual Culture and Fine Arts; courses: Painting Specialisation, Practical Diploma Work, Production and Final Practical Work (2014–2017)

Projects and Public Art Works:

  • “Managing Living Resources Carved in Stone” – promenade design and installation of stone planters on Palm Avenue, project for the Municipality of Sutivan, funded by EU funds (2023)
  • “Viewpoint of the Stara Novalja Fishing Posts” – design and execution in collaboration with architect Marija Mia Peranić, Stara Novalja, island of Pag; project for the Stara Novalja Tourist Board, funded by EU funds (2023)
  • “Stone Bench”, Stone Museum “Welt der Kristalle”, Dietingen, Germany (2018)
  • “Map” – project in collaboration with children, installed at Stagnica Square, Donji Humac, island of Brač (2017)
  • “Stagnica” – design and construction of a public square, Donji Humac, island of Brač (2017)

Awards:

  • Bronze award “IDA – International Design Award” in the product design category for the stone set “Quatro”, Los Angeles, USA (2020)
  • First Prize “Tripun Bokanić” for “Modular Candle Holder” – stone design, Oris House of Architecture and Stonemasonry School Pučišća, island of Brač (2019)
  • Participation in the project “Dolčevita”, awarded the Silver Prize “Sunflower of Rural Tourism” (2016)
  • Second Prize for Painting, “Split Art Fest”, Aqvarij, Split (2011)

Review

A review of the works of Dina Jakšić Pavasović was written by the distinguished art historian Barbara Vujanović, who continuously follows the work of the Jakšić family and regularly publishes professional texts about their projects.

Abstraction lies at the core and serves as the point of departure for the creative expression of Dina Jakšić, an artist whose primary medium is painting. Within this field she has developed a distinctive language rooted in Abstract Expressionism, at times evolving towards a more contemplative form of lyrical abstraction. Her compelling colour constellations are shaped equally by intuition and experience, reflecting the artist’s profound knowledge of both international and Croatian art history, as well as the cultural heritage and traditions of her native island of Brač.

Calm and spacious passages alternate with swirling movements and dense accumulations of paint. While in her earlier works this relationship relied on a balancing of contrasting dynamics, often carried by strong chromatic oppositions, the artist gradually unifies these elements into coherent compositions characterised by fluid transitions, drippings, and painterly pulsations. Dina demonstrates a sustained interest in the pictorial surface, constructing it through rich impasto layers that she frequently revisits and reworks. Materiality has long been present in her oeuvre, particularly through collage techniques and the use of burnt materials.

Equally significant is her desire to liberate the act of painting from traditional supports such as canvas. From the beginning of her artistic practice, she has experimented with unconventional surfaces, including newspaper pages, whose printed content offered an additional challenge and opportunity for visual dialogue.

Similarly, when conceiving exhibition presentations for individual series, the artist willingly situates her works in unexpected environments, such as abandoned stone houses or quarries. In doing so, she allows the works to acquire richer associations and more complex layers of interpretation. Her ambition to expand the scope of her artistic practice reached its fullest expression in her doctoral dissertation, On the Dowry Through an Artistically Shaped Space – A Monumental Installation. As part of this project, she developed the concept of installing monumental stone monograms along the road between Donji Humac and Nerežišća. Each monogram embodies the idea of a dowry and symbolically represents a distinct female life story.

The choice of stone as both support and medium is particularly significant, as it establishes a stronger connection with the family’s long-standing tradition of stone craftsmanship. In her approach to this noble material, Dina completely suppresses any impulse towards domination or imposition. This is especially evident in her recent works—carefully cut, reconstructed, and delicately refined coloured stone objects. Through their creation, she most convincingly affirms her continuation of the Jakšić family’s stonemasonry heritage.

The applications of colour follow and emphasise the qualities and structure of the stone, giving rise to a possible reading of Dina’s painterly narrative as inherently organic. Although her artistic language encompasses both this organic dimension and the notion of Mediterranean identity, it is above all a confirmation of the act of painting itself—as a means of approaching both the self and the world. The impulse towards abstraction, the process of painting, and ultimately the resulting work become tools for shaping perception and understanding.

By avoiding the literal presence of a specific subject or narrative, Dina Jakšić grants autonomy to individual details while simultaneously preserving their necessity within the overall composition. The associative potential of her work cannot be exhausted through a single reading, interpretation, or fixed meaning. It remains perpetually open, just as the possibilities for the artist’s future explorations and creative developments remain open.

Barbara Vujanović, art historian

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