Permanent collection
The permanent collection is constituted by a selection of works of Ksenia Milicevic realized between 1984 and 1998. Sculptures of Christopher Stone and Gerard Lartigue.
Ksenia Milicevic
Ksenia Milicevic is an artist-painter, architect and town planner, born in 1942 in ex-Yugoslavia.
First personal exhibition in 1970.
Member of Maison des Artists ( National Association of Professional Artists) since 1982.
Exhibitions in Argentina, Spain, France, Mexico, Portugal, Germany, England, Italy, Switzerland, Belgium, Norway, Luxembourg, Ecuador, Brazil.
Workshop in the "Bateau-Lavoir", in Paris, France.
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KSENIA MILICEVIC: AMBIGUOUS SPACES A Curatorial Review
Ksenia Milicevic works primarily in oil on canvas and tempera, two media whose long histories she draws on consciously and without apology. Oil on canvas is always her medium and style — the subjects are nature and human dreams. But what she does within that traditional framework is anything but conventional, and the distance between her starting materials and her finished surfaces is where the real practice lives.
The beings and things Milicevic paints are very normal. What is less normal is the game of perspectives — the mixture of multiple scenes treated on the same painting in different scales, on planes which penetrate or ignore each other according to what one critic called "crazy registries."
The rationalism does not calcify her imagination. This is the key to reading the work. Standing before a Milicevic canvas, the eye is pulled in multiple directions simultaneously — a figure at one scale, a landscape at another, architectural forms folding through organic ones, all coexisting on a single surface that refuses to resolve itself into a single coherent space. The effect is not confusion but productive disorientation: the paintings insist that the viewer remain active, keep looking, keep negotiating.
The brush handling is confident and declarative without being gestural in the expressionist sense. Milicevic does not perform emotion on the canvas surface. The marks are purposeful — building planes, establishing color relationships, constructing the specific spatial ambiguity that is her signature — but they remain marks, evidence of hand and decision, never dissolved into academic smoothness. The paint has presence. In the oil works, layers accumulate with the structural logic of her architectural training: each plane is established before the next is placed across or against it, and the resulting depth is genuine rather than illusory, built rather than suggested.
Color in her work is warm and rich but never decorative. Ochres, deep greens, earth reds, and warm blues recur across the figure and landscape works alike, creating a chromatic coherence that holds the spatially complex compositions together. Light does not come from a single identifiable source; it is distributed across the different spatial planes at different intensities, so that each zone of the painting exists in its own light condition. This is part of how the spatial ambiguity is produced — when light refuses to unify the picture surface, the eye cannot reconstruct a single coherent scene from the parts.
The representation of space in her painting corresponds to our current knowledge of it — a space no longer one-dimensional, but made up of different planes which intersect, overlap, intertwine, or act as mirrors. This is the formal argument that drives every compositional decision. Milicevic wants the painting to communicate the actual complexity of how we inhabit the world — not from a single fixed viewpoint at a single instant, but from the accumulated, layered, contradictory simultaneity of experience.
She considers the work of art not an outlet for the artist's personal demands or feelings. The artist captures the world around us to restore it from their perspective — the artist's imprint visible in the expression of the work, which will always be unique if it is truly a work of art.
The result is painting that is visually generous and intellectually serious in equal measure — work that gives pleasure on first encounter and yields more with sustained attention.
Despina Tunberg Curator World Wide Art Books and Artavita
Santa Barbara, Californie, États-Unis
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Christopher Stone
" I am a sculptor, I was born and bred in London 55 years ago. After doing the knowledge I drove a black cab there for ten years helping to finance my art.
I moved to Seville 20 very odd years ago and dedicated myself to full time art; 17 years ago I landed on Ibiza where I have been ever since.
I have had some share of success, I have exhibited worldwide, and I have pieces of my art in many countries, In both public and private collections.
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Gerard Lartigue
Gerard Lartigue has exhibited for over twenty years in France and abroad. He discovered the sculpture very young, but no dedicated until years later when he was attracted by the alchemy that turns clay into art by the effect of fire.
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