About

Ina Djurković is a Serbian-born, Berlin-based visual artist working primarily with painting. Her work moves between abstraction and figuration, exploring emotional strength, femininity, and the quiet complexity of inner life.

Artistic Practice

Emotional & Psychological Focus

Ina’s work is deeply personal and psychologically driven. She investigates themes such as softness, survival, perfectionism, and personal transformation, often through the lens of the female experience.

Materiality & Process

Her paintings frequently incorporate textile techniques passed down from her mother and grandmother: sewing, embroidery, and mending, as both material and metaphor. She works on paper, canvas, and fabric (including silk, muslin, batiste, and cotton), often distressing the surface through layering, ripping, or repair.

Style & Mediums

Ina uses acrylic, watercolor, thread, fabric, and found materials. Her works range from abstract anatomical studies to layered portraits and conceptual installations. She often paints on unstretched canvas or semi-transparent textiles, inviting softness and imperfection as essential parts of the visual language.

Background

Architecture & Transition

Ina holds a Master’s degree in Architecture from the University of Novi Sad, with a year of study at La Sapienza in Rome. She worked as an architect and interior designer for over a decade in Serbia and Canada, receiving national awards for her contribution to public space design. In 2023, she relocated to Berlin to fully devote herself to her art practice.

Self-Taught Path

Though she has painted since childhood, Ina is self-taught. Her art journey began privately, as a form of healing during a long period of depression. Over time, she began to share her work publicly, drawing others into the emotional honesty at the core of her practice.

Recent & Ongoing Work

Between Softness and Structure (2025)

A series of portraits and abstract works presented as an installation and performance. The collection examines resistance to traditional associations of femininity, and reframes softness as a form of strength. The performance component focuses on repetitive, meditative actions.

Apocalypse of the Self (In Progress)

Large-scale watercolor paintings on fabric and paper, photographed in an abandoned industrial setting. The work addresses psychological collapse, survival, and emotional rebuilding. It continues themes of transformation introduced in previous collections.

Misplaced Tissue (In Development)

A wall installation made up of 30 small paintings on transparent and semi-transparent fabrics. Each painting represents one day of the menstrual cycle. Using color-coded stitching (black for pain, red for blood, blue for digestive issues, yellow for “good” days), the series visually documents the physical and emotional symptoms Ina experiences throughout the month.

Me Trying (In Progress)

A series of watercolor portraits intentionally layered with paper and partially destroyed. The work addresses the internal pressure to achieve perfection in the creative process. Each piece reflects emotional conflict around control, overworking, and failure. This series is both personal and methodical in its approach to psychological self-examination.