The painting style of Tanya Djokic is new in every way. It is not the Postmodernism nor the New figuration. It has no trase of remains of the Abstract art nor of any other current trends and movements in the sphere of arts. It is a completely new phenomenon, a new and different play of shapes and colours, where the colour areas are variously combined, creating the ideal basis for the new realms of toughts, filled with fluid tense and maximal visual contents, presented, like a miraculous vitres, in a unique way through the colour palette.

The form on Tanya`s paintings is condensed and it fades in unclosed circles and broken edges of lines. The spase is moved from its basis. It is cut with strong lines. The color areas plased on the surface are spreading around like tides of lava, condensing into the shiny meteorids. Out of this loud colorful rhapsodies Tanya creates new symphonies with a furious tempo. Everything starts to be tamed and organized. A kind of order is coming through the vanishing of the space. The passion is slowely disciplined.

Svetomir Arsic Basara
regular member of the
Serbian National Academy of Science and Arts
Belgrade, 2000

It is a process in which the structure of the painting is built mostly by direct action of filling the empty white spaces, by which the substantial chromatic and constructive plan of the expresson is set. This later requires articulating the associations, arose from the basic relations in the very structure of the painting, by which actually begins a sensitive process of building up a structure of the primary stratum of the visual expression, and its transformation into signs, or a system of signs through which she gives the answers to the essential issues which life puts forward to the creator.

By her affinity, Tanya is inclined to the expressive manner of painting, very sharp and consequent, coming from the depths of her being, with a stressed structure, and with drawing nervure, if needed, on the surface of the painting,which eliminates the possibility of description to become main element in the structure of the painting.

Having reached the harmony of the stressed facture, strong colouration, and drawing nervure, she tries to balance the energy with the mather. The pictorial energy materialized in the format of her paintings is a result of strong emotional charge which finds its natural way out through the associations arranged on them – it is the way of expressing her emotional and mental attitude towards the world she lives in.

Prof. dr Srdjan Markovic
Art Historian
Belgrade, 2000

The common place we find in the biography of almost every art creator, and that is to resemble some of his predecessors, in the case of Tanya Djokic can be confirmed only conditionally. Namely, she early and courageously left that clear path, discarded imitations and sore copying and accepted the fact that art is among the hardest, if not the hardest intellectual discipline. Art simply requires the creator to devote himself to it, asking him to sacrifice himself and face with uncertainty. However, her unhidden wish, or more precisely her basic need to paint, urges her to inquire into and survey both painting substance, i.e. application of different technologies and working methods, and the working out of the idea itself, or it is better to say abstractness which, in this case, is implied by the titles of the paintings (Condensed Energy, Town Deep Under The Sea, The Descent Into Foundations, etc.). It is quite obvious that in these paintings she is not occupied by the so called great issues, but she is, no doubt, interested in the faith of the man of the present days, even thought his presence is hidden on the paintings.
Having overcome that necessary skill which for every painter is the condition for passing from natural to artistic attitude, Tanya Djokic is, considering her painting and subject matter, already a complete and formed artistic personality. For these reasons we should pay attention to her and seriously account on her growing success in the future.

Petar Petrovic, Art Historian
Art Historian
Belgrade, 2002

It is good that she is a real chip off the old block. It is good that this abundantly gifted, unusually industrious, highly curious and ambitious young painter Tanya Djokic follows the footsteps of her excellent teachers. It is good that she follows their road signs, their teaching, their esthetic ideas and moral principles. Thus it is good that in this way the permanence is preserved, the permanence in spite of all. It is good that the extremely necessary continuity of the spirituality, which originated from the predecessors’ ground of the genuinely holy Serbian country, is thus created. It is good that through her work of a unique pictorial satiety and even more unique tangible texture and facture, as well as through one more lyric than epic artistic expression, her creative starting point, her strong emotional base in the landscape of native Kosovo and Metohija is clearly recognized.
It is good that she is the real child of her native country, its painful present but the trustworthy guarantee of its continuance and its future, as well.

Nikola Kusovac
Art Historian
Belgrade, 2002