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 is the core and starting point of the creative expression of Dina Jakšić, an artist whose primary medium is painting. In it, she nurtured a recognizable style of abstract expressionism, which sometimes turns into a calmer lyrical abstraction. Exciting coloristic constellations are equally determined by intuitive thinking and experience, as a reflection of the painter’s rich knowledge of international and Croatian history of painting and other media, as well as the local, Brač tradition.
Calm, loose areas alternate in images with swirls and condensed coats of paint. And while in earlier works this relationship implied equilibration between different dynamics, whose bearers are primarily coloristic contrasts, the painter gradually unites them into a coherent whole, in which mergers and drippings are materialized. The artist shows interest in the surface of the painting, which she creates with pasty layers of paint, on which she often intervenes afterward. Uterineness is already present in Dina’s oeuvre in the processes of collage and burning of materials. Especially interesting is the need for the act of painting to release the traditional background, ie canvas. From her beginnings, the author did not hesitate to reach for backgrounds such as newsprint, which offered her the challenge of reacting to printed content.
Likewise, when designing an exhibition presentation of individual cycles, the artist will be very happy to “move” into unexpected spaces such as an abandoned stone house or quarry, thus enabling the works to acquire more complex associations and interpretations. Dina’s desire to expand her field of activity experienced the greatest expansion with her doctoral dissertation On the dowry through an artistically designed space – a monumental installation, as part of which she developed a project to become monumental stone monograms on the road between Donji Humac and Nerežišće. Each monogram embodies the idea of a dowry, that is, one woman’s destiny.
The choice of stone as a base and material of expression is indicative because it emphasizes a more pronounced connection with the family tradition of processing. In his approach to this noble material, Dina completely suppresses the urge to intrude, which is especially evident in recent works, carefully cut, reconstructed, and finely crafted colored objects. With their design, Dina is the strongest confirmation so far of the connection to the stonemasonry of the Jakšić family.
The layers of paint follow and emphasize the quality and structure of the stone, which results in a possible reading of Dina’s painting narrative as organic. Although her style implies this premise, just like that of Mediterranean identity, it is first and foremost, in its form and meaning, confirmation of the act of painting and the phenomenon as an approach to self and the world. The urge of abstraction, the process of painting, and then the result, are a precondition for shaping one’s own perception and understanding.
By avoiding the literal presence of a certain topic or content, Dina Jakšić enables the simultaneous autonomy of details, as well as the necessity of integrity and functioning within the whole. Associativity is not exhausted in one respect, in one possibility of interpretive recognition, or in anchoring in one sense. It always remains open, just like the likelihood of further artistic breakthroughs and research.
Barbara Vujanović, art historian
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