Selena Vickovic was born in Belgrade on 17th October 1958. She took her degree from the Faculty of Applied Arts and Design, class of Professor Rajko Nikolic, in Belgrade in 1982. She finished her postgraduate studies in 1988. She performed her advanced training in Professor Oliver Debre's class at the Ecole des Beaux-Arts in Paris from 1984 to 1986. She worked as an Assistant and Docent at the Faculty of Applied Arts and Design in Belgrade till 2000. She has been a Member of the ULUS since 1984 and the Maison des Artistes since 1993, the Universite Internationale d'Ete, Marly-le-Roi since 1992 and the Cite Internationale des Arts in Paris. She has been organizing solo shows both in the country and abroad since 1982 and also taking part in group shows since 1984. She exhibited her works in Belgrade, Rijeka, Paris, Brussels, Antwerp, Ulm, Louvain La Neuve and Saint-Quentin.
She was awarded a prize at the Salon of Modern Arts in France in 1999.
She lives and works in Paris and Belgrade.
1982-The Pinki Gallery, Zemun
1984-The Gallery of the Students' Cultural Centre, Belgrade
1984-The Atelier 212-the BITEF
1984-Katya Martinez, Paris
1986-Katya Martinez, Paris
1987-The Art Gallery of the Belgrade Cultural Centre
2000-The Studio Costel Gallery, Paris
1982. – Galerija Pinki, Zemun
1984. – Galerija Studentskog kulturnog centra, Beograd
1984. – Atelje 212 – BITEF
1984. – Katya Martinez, Pariz
1986. – Katya Martinez, Pariz
1987. – Likovna galerija Kulturnog centra Beograda
2000. – Galerija Studio Kostel, Pariz
The drawings of Selena Vickovic primarily demonstrate the opening of boxes, women's suitcases with Harlequins and dolls, pieces of intimate mobiliars and phantom gowns and mantles peeping out from the drawers. They show developing plans of the "representative box" of a painting, cadres discovering secret life of new infantile subjects.
Sometimes mute, anaesthetized or decapitated women's figures are particular toys trying to find their inhabitation within the picture plane. They stretch and pose when caught and interrupted in the ritual games of violence, they flaunt their fresh wounds and pronounced sensuality, pleading loudly for their ephemeral existence. Time of framing and fixing hidden intentions of games and unrealized (inhibited) wishes corresponds with the incision rhythms of the painting’s tissue, of the very incarnate from which there emerge fissures of undesirable memories or bleeding wounds.