Hana Miletic

  • Hana Miletic is a Croatian artist living in Brussels with a background in documentary and street photography. She uses photography as the basis for woven works, the fabric is an abstraction of what she has witnessed, a bringing of the outside inside, and serves as a kind of act of care and repair. Born in Zagreb in 1982 Miletic’s family were refugees from the former Yugoslavia. Her work resonates with memories of Croatia as well as dealing with the history of its culture. Her weaving practice began in 2015, she was both drawn to the precedence taken by material gestures over conceptual thinking and the intergenerational contact she had with women of different ages and cultural backgrounds. While primarily a craft and an artistic practice, weaving also has a social dimension, conceptually it allowed her to consider the metaphorical implications of binding together and repairing, both physically and psychologically. Although historically weaving is a male and a female occupation it is commonly associated with women’s work. Her adoption of this process for making art thus brings to the fore a feminist agenda, using a process normally associated with applied art to make fine art.

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Hana Miletic

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Hana Miletic is a Croatian artist living in Brussels with a background in documentary and street photography. She uses photography as the basis for woven works, the fabric is an abstraction of what she has witnessed, a bringing of the outside inside, and serves as a kind of act of care and repair.

Born in Zagreb in 1982 Miletic’s family were refugees from the former Yugoslavia. Her work resonates with memories of Croatia as well as dealing with the history of its culture. Her weaving practice began in 2015, she was both drawn to the precedence taken by material gestures over conceptual thinking and the intergenerational contact she had with women of different ages and cultural backgrounds. While primarily a craft and an artistic practice, weaving also has a social dimension, conceptually it allowed her to consider the metaphorical implications of binding together and repairing, both physically and psychologically. Although historically weaving is a male and a female occupation it is commonly associated with women’s work. Her adoption of this process for making art thus brings to the fore a feminist agenda, using a process normally associated with applied art to make fine art.