Milica Bravacic studied at the Academy of Applied Arts (stage costume design) and Academy of Fine Arts (painting) and has received her MA in Visual Arts from the Belgrade's University of Arts. (These are the same universities? It's unclear)
Milica's paintings have been exhibited across Europe, her artworks can be found in private collections around the world. As of 2017 she had 12 solo exhibitions.
Her 4th solo show took place in 1988 at the Galleries of Modern Art of the Gulbenkian Foundation, Lisbon, as a result of a residency from the Ministry of Foreign Affairs of Yugoslavia.
After years of work on textile designs, Milica returned to painting in March 2006, with her Peranakan-inspired work mural Blair Rd. in the show The Shape That Is (online link is dead) at Jendela Gallery of The Esplanade - Theatres By The Bay, Singapore, alongside Pacita Abad and Bose Krishnamacaharaci. The exhibition Retrosquares at The Arts House (Dec 2006) followed with an encore at the Singapore's Mercedes- Benz building (2007). For this occasion she has created a series of drawings inspired by the classic Mercedes car Retrorides.
Peranakan ornamental themes continued to be Milica's inspiration in the series Post Scriptum. This cycle of work on recycled rice paper and silk was shown at Gallery Sebastian in Dubrovnik in 2009 and at the Belgrade Ethnographic Museum in 2012.
In 2015 Milica created a variation of her mural during an 'in situ' panel painting (6m x 3m). A collection of more than 50 Peranakan tile ornaments re-created historic house façades within the lobby of the Ritz Carlton-Millenia, Singapore. The polyptych is on permanent display at Ritz Carlton's Stella Gallery.
With The Boy From Neil Road, a work dedicated to the founder of modern Singapore, Mr Lee Kuan Yew, Milica is featured in the first edition of Haarper's Baazar-Art in 2015.
>> Feature Interview: Milica Bravacic (INTERSECTION.SG, November, 2015)
Assembling and reassembling, constructing and deconstructing, the processes that are traditionally in the core of painting itself, have been redefined by the position of the canvases. Milica’s final arranging of this work reminded me of a big jigsaw puzzle, which, in this case, had no supposed edge or blueprint, but was at the mercy of the artist’s sole judgment.
Program Officer/Curator, Visual Arts Department, The Esplanade, Singapore
“When I visited a modest studio in the old and picturesque part of Lisbon in which Milica
Bravacic worked on her paintings, I was intrigued and interested in her way of presenting some
typically Portuguese themes.
Now, I believe that it is of great interest how she has
treated themes such as "feiras", "azulejos" and Portuguese architecture. At the
same time Milica's sojourn in Portugal has not deprived her from the Mediterranean touch in her
Exc.Jose Ribeiro Sommer,
Director of the
Galleries of Modern art of the Gulbenkian Foundation
“With her 19 pieces exhibited in the Gulbenkian Foundation, M. Bravacic displays a
colorful vision of Lisbon, abundant with imagination, through which anxiety and humour have been
Painting procedure in her work has been developed through the superimposition
of various pictorial layers, in interplay of the transparent versus opaque pictorial
Chake Matossian, curator-critic,
Foundation / Diario de Noticias, Lisboa
”Milica is a sensitive traveler through centuries which have been reflected in the beautiful
ambiance of Dubrovnik, her hometown. In her canvases she constructs pictorial stories using various
planes and dimensions of some existing artifacts: a shape of the Romanesque window has borrowed the
format to her paintings; the ideal geometrical order of the city streets she turns into abstract
structures with deeper. philosophical meaning.
St. Blaise, a patron of the city, has been
positioned highly on the city walls in order to protect it's citizens-his invisible presence over
this famous Medieval town has turned into a symbol of higher order, and his raised arm worshipped
as a relic.
Milica evokes other symbols of the city, it's Renaissance and Baroque
sculptures and edifices and gives them a contemporary dynamics and vitality” .
Dr. Irina Subotic, Head curator - art historian, National Museum,