https://artistparentindex.com/files/original/ca6fb8eb11353e66ea1d5699ca542a25.jpg 7dcc0c66220d42f21756c6dc7bf14814 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artist Parent Index Person An individual. Website The Artist's website <a href="https://www.verastankovic.com" target="_blank">https://www.verastankovic.com/</a> Medium sculpture installation photography collage urban intervention performance art object sculpture photography writing interdisciplinary Location The location of the interview Ljubljana Slovenia Europe Artist Statement I am fascinated by transformation processes. I observe transforming spaces, economy, environment, cities, work, cells, bodies, knowledge, history, countries, roles, education, technology, relationships, selves, languages. Becoming and being a mother is for me all about transformation. My first solo exhibition in the Zepter Gallery in Belgrade, Serbia was called Metamorphosis . The objects I made used banal everyday objects (plastic bags) and transformed them into an immense vagina or into umbilical cords falling from the ceiling. This story from 1999 was a intimate story of separating oneself from the primary family and a story about the everyday and the environment.  From 2006 to 2012 my partner and I went through a series of unsuccessful IVFs and several miscarriages. I did several sculptural works that documented this part of our lives - like the Womb exhibited in 2010 in Museum de Ceramica de l’Alcora, Spain. It was just about the pain, I guess. In 2012, I was invited to make an urban intervention inside the Vesel Garden in Ljubljana, Slovenia. I was three months pregnant with my son and did not know what to expect about the occurring pregnancy. So I did an urban intervention with a participative performance and called this work Embryo garden. It was all about the thin line between life and death of the child to be, but also of the artistic child within myself. My experience as a parent has been both challenging and inspiring for me as an artist. I explored the relationship between the roles of artist and parent in my 2016 exhibition in the Glass Atrium of the City Hall of Ljubljana, called A Thank You Note To the Cleaning Lady. The work that lent its name to the exhibition questions the relation between reproductive, maintenance work and having greater purpose in life. As a whole, the exhibition was born as a product of broken antagonism between being a parent and an artist and of cooperation between the two roles. The installation To Include Everything, Everything, Everything, Absolutely, Absolutely, Everything especially focused on that. And the work The Map is about the child experiencing and learning by himself, and the artist-mother just observing and taking notes. In this process, I sometimes feel as if steeling from him.  Topic play daily life work/life balance parenting domestic artist/mother fertility infertility vagina parent/child collaboration World War II exploring anger cleaning maintenence everyday powerlessness ritual grandmother's motherhood Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vera Stankovic anger archive artist/mother calendar cleaning collage daily life domestic everyday fertility grandmother infertility installation maintenance Maps motherhood parent/child collaboration parenting plastic play Poljanska powerlessness Pozega-Slavonia pregnancy readymade ritual sculpture Serbia Slovenia toys vagina womb work/life balance World War II writing