Aleksandra Tisa Jelincic
painting
Royal Academy of Fine Arts Antwerp
Graduates: 2026
Specialisms: Painting / Drawing / Printmaking
My location: Antwerp, Belgium
Aleksandra Tisa Jelincic
First Name: Aleksandra Tisa
Last Name: Jelincic
University / College: Royal Academy of Fine Arts Antwerp
Course / Program: painting
Graduates: 2026
Specialisms: Painting / Drawing / Printmaking
My Location: Antwerp, Belgium
About
My current practice approaches painting as a form of world-building and active research. Through the lenses of science fiction and 1980s dark fantasy, particularly their theatrical environments, I materialise the ways imagined spaces shape our identity. Women occupy the centre of these worlds, presented with an unpretentious sense of the naked body rather than as an eroticised object. They exist among animals, plants, architecture, and objects, as part of an environment shaped by memory and imagination. Repetition persists through nudity, while female archetypes interact and influence one another, both inwardly and outwardly.The starting point of my process is reading; literary motifs are collected, revisited, and gradually transformed as they move between paintings. Pattern and ornament help construct these spaces, while camp enters through this combination of artifice, excess, sincerity, and self-fashioning. Rather than following a linear narrative, I allow fragments to gather and form relationships, so that each painting develops its own atmosphere and internal logic.
House of Lizards explores the tension between imposition and detachment through the recurring figure of the nymph — an archetype historically shaped by projection and the impulse to possess or define the feminine. The lizard becomes a parallel figure: watchful, instinctive, adaptable, capable of disappearing and re-emerging in another form. Like the lizard, the nymph remains elusive and difficult to possess. My protagonists, appearing detached rather than seductive, continually reinvent themselves through individual acts of self-fashioning. Familiar domestic spaces become uncanny, allowing them to exist simultaneously as a projection and as a presence that remains self-contained and resistant to fixed interpretation.
Competitions
