Serb-born artist Milena Dragicevic produces work to hit you in the face, stark and surreal canvasses that are simple in composition yet psychologically complex, inspired by everything from modernist architecture to ancient Inuit culture. Her first UK exhibition Coloured Threads in Door Knobs brings together new paintings with work dating back several years, and is currently showing at London's Pump House gallery. She talks to Ciaran McKenna about why art should always be censored, mummification, hyper surreal dreams and digging for black holes…  

How much an influence does your Serbian background have in your work?

Humour, notions of what is sublime and use of language are all influenced by personal cultural. I am a Serb immigrant who grew up in Canada and had to deal with speaking English by day and Serbian by night. All the contradictions/cross-referencing in that in some way must enter the work. The Serbian language is very graphic, therefore quite visible - my work is visible in the sense that at times I think it can hit you in the face.

Have you been back recently?

I was back in the summer of 2004 when I took part in the The 'Yugoslav Biennial of Young Artists Vrsac'. The beer was really cheap, the people were super-friendly but, as a place, it did feel very isolated. I did not feel like I was home. I felt like a tourist but a tourist who was sitting in her aunt's kitchen. They are a visaless culture, stuck. The West demands change but they keep the youth stuck!

Your work has been described as mining the crossover between the sublime and the ridiculous, is that accurate?

It's a nice way of putting it but I think most work that is successful does this. To find the black hole you have to dig and there is something always quite comical about holding a big shovel in your hand.

What or who currently inspires you?

The focused goals of ancient art, people's conversations, very specific studio visits (I don't do many), the absurdity of politics, film and loads of other little things.

Does art make a difference?

It makes a difference to me and that's all I really care about. You have to convince yourself first before you can convince anyone else.

The Tursiarvik series captures the work of modern sculptors such as Brancusi and Shapiro, are you interested in creating art away from the canvas? 

My approach was more installation based years ago. Now I just paint although my current show has one object which I guess you could call a sculpture for a lack of a better word, 'Souvenir Trilogy Part Two'. At some point there will be a Part One and Part Three. When and where they will appear I have no idea.

Your recent work shows faces altered by intervention, can you discuss why you did this? What are your thoughts on those who choose to do this to themselves in reality - Michael Jackson for example?

I wanted to do a series that felt quite focused, but a series that I also felt could go on in a random order forever. I also wanted to make the starting point easy for myself - a face in the middle of a small canvas. They are not portraits, they are not a true reflection of the model. They are about something else - they are not mutants, they are just unknowable.

Plastic surgery has nothing to do with the kind of intervention that I deal with in my Supplicant paintings. Plastic surgery is still very much a part of the person's personal psychology and identity and my work reflects nothing personal about the model. People who have had plastic surgery should ask to remain mummified, it's a better look and they will stand out more.

Should art ever be censored?

Yes all art needs to be censored, that way more of it would become taboo and more people would be interested to look at it and therefore give it an even greater value.

Is the current art scene in the UK over-inflated?

I think the current art scene in the UK is under-inflated. The "star" bubble burst a while back. Artists here want a change but they still behave the same along with the galleries. The raw energy in London comes from the place itself and sadly artists/galleries here have less and less to do with that. For example, why in the world are East End galleries trying to move to the West? I say tell the collector if they want the piece they have to get on a bus late at night, wearing high heels and carrying a large luggage like handbag over their forearm. If they make it then they will have earned their discount.

Your work can appear like a still from a vivid dream, do you remember your dreams?

I totally remember my dreams and they are all in colour and some hyper surreal. I recently had a flying dream which was just phenomenal - better than any real roller coaster ride.

Coloured Threads in Door Knobs runs until 21 Sep at Pump House Gallery, Battersea Park.