Petra Knezic is a self taught artist from Slovenia that focuses on ink art. 

She uses precise technical pens (ISOGRAPHS) with drawing ink, that let her create very detailed drawings on paper or canvas, for the sake of exploring an idea with the smallest line.


Her art is based on creating stories, using empty-faced, gridded people (SOULIES) or skeletons, to invite the viewer to mentally collage their person into the drawing and experience it for themselves. She seldom steps out of the black and white variations as she sees her love of ink as an upgrade from previously used pencil and charcoal and a possibility to strip down a situation into its building bricks.

Petra has been published in international art magazines around the world and has been awarded the first Leonardo da Vinci Award - The Universal Artist in Florence, Italy as well as the Canaletto Prize for outstanding work in her art career in Mira (Venice), Italy. She has been published as one of the ten finalists in the abstract and experimental art issue of the leading art magazine International Artist Magazine. She has also been selected as one of the 20 jury selected artists in the CCBA International Milano Art Competition, finishing 2016 with an international group exhibition at the Bakery Pavilion and later the Art Passage gallery in the heart of Milano, Italy.

Since than she has focused on only one collection, the "Grids and Bricks - Underwater" works,  which she completed in 2018.

(For full list of publications and upcoming shows please check the ART section of this webpage.)


The core of my art process is the transformation of any given situation that occupies my mind,with all its colours, into the basic molecules I call the building bricks and therefor look like them. There are so many issues that cannot be settled because of their density, without being analysed and understood.


Drawing with simple lines and ink is cleaner and clearer to express ideas. The way I draw is very time consuming and I have created my own rules to my own style while drawing the last collection. Following these rules the works still changed as I progressed and even though you have to plan out a lot of the work in pencil, I am always still surprised by the finished drawing.

          I like this way of working out my ideas, I like to have to come close to a work and look around in the picture to see the small details, the almost hidden objects that hold the stories. They all have stories in them, they have their own, each drawing, as well as some connecting line that recently completed the last page of the collection.

          I learned to incorporate colour into my work through symbolism and I was able to resolve some questions older drawings left open. The little subjects, Soulies, were a big help.

Now I have to experiment on what I want to do next, if it works out on paper as it does in my head.

I want to keep the style and try to figure out how I can do more faster, without loosing too much detail work. I want to do something else without changing this specific style.





Drawn to represent anyone who finds him/her/itself in its place.

Designed to explain situations without giving it a specific face, it is an anonymous individual to name for yourself. 

Make it show you a world or situation through someone elses eyes or make them understand yourself better.

Soulies are drawings of little people, which aren´ t little at all, they just seem that way to me, because they have a lot of growing to do. They are the perfect subjects when it comes to explaining how I feel sometimes, what I have been up to or where I am going. In that aspect they become me.

I use them for my blog, to show people how I work, for in between nonsense and most importantly, I use them to tell stories of my GRIDS & BRICKS collection.



Working with an isograph can be challenging. I have experienced and written a few things about this and after working with them for many years, I can say I don´t break them as much as I used to before. Of course I still do. Managing pressure on the pen is still a discipline I am poor at when it comes to being completely emerged in work.

Why the isograph? Technical pens and drawings have left an impression on me since childhood. I have always been surrounded with Rotring and I have yet to find a pen that works for me as well as this one does. Drawing with it is clear and well defined.

It allows extreme detail work and offers creative ways of explaining what you have drawn. The tool fits well with the concept of my work. It underlines it and makes it complete.

Conceptual abstract geometric storytelling.

As for the length of the process of working with an isograph, it requires a lot of patience and is a sort of meditation. A delicate pen has to be handled with a lot of attention. Drawing fine lines also requires making as few mistakes as possible, erasing ink means covering it up. This way the idea is prepared by the pencil and worked out by the pen.