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The scrap metal onto which she realizes these works is a reference to her familys struggling existence, her father collecting such metal pieces to sell them in order for his family to subsist. By using this material for her paintings, Selma Selman symbolically transforms this seemingly useless surface into a conveyer of her message, her origins into a strong base to build on and transcends misery, discrimination and stereotypes.
Beyond the repeated reference to her familys way to subsist, this performance stands for the destruction of a housework device that became associated with the enslaving of housewives for more than a century, but also a moment of catharsis when the artist can ease the inner tensions that both destroy and construct her.
The artist, who was one of the most talented individuals in the ex-Yugoslavia art scene of the 1980s and who despite the Balkan war, chose to stay in Bosnia, has long been concerned with the condition or position of artists and the arts in the country today, the relationship between art, artists, politicians, state and society, the question of what is art today, as well as with the topic of isolation.