The monumental, three-dimensional tapestry 鈥淲ounded Dove II鈥� is characteristic of Jagoda Buic鈥檚 work, and imposes itself in a space thanks to its size, rough texture and dark hues, as well as its physical weight (450 kg) and composition. An effect of scenography is created, and Buic manages to create the idea of an atmosphere simply with one tapestry. Jagoda Buic moreover carried out several set design and costume projects for theater, opera, ballet and cinema, starting in the 1950s. Her various creations for scenography, for which she undertook extremely contemporary spatial research, in part lead her to this 鈥渘ew tapestry鈥� for which she was one of the main actors as of 1965. With these tapestries, Buic innovated on this art form鈥檚 traditional space and introduced a third dimension, hence allowing for a closer co-relation between the work and its surroundings.

The materials and weaving technique used by Buic reflect her sensitivity to her country鈥檚 textile tradition; for her works, she carries out traditional hand-woven techniques in a workshop with the collaboration of women coming from the country鈥檚 different regions, to which she incorporates her modernity. She has a clear preference for natural fibers which allow for a greater suppleness and precision than industrial ones when weaving by hand. Among the more used textiles one finds wool, as is the case for 鈥淲ounded Dove II鈥�, as well as sisal, textiles to which she hopes to 鈥済ive back鈥� their autonomy by using them not only as a means of creating a tapestry but also for the color and texture that each can individually bring to the work. Buic places importance not only on the visual reality of her work but also on the material鈥檚 tactile aspect. Selecting these based on their natural textile characteristics is essential to her work.

The tapestry donated to UNESCO clearly reflects Buic鈥檚 artistic preferences, such as the predominant use of black, brown or earth tones, with the occasional touch of white or red, symbol for blood. Not only is her palette extremely limited, but her use of it is minimal, even non-existent in certain works. The primarily dark 鈥淲ounded Dove II鈥� emphasizes the vertical red 鈥榯race鈥� that runs down the center of the composition, hence accentuating the works鈥� theme. The tapestry imposes itself thanks to its composition and dimension, as well as the choice of natural, rough and expressive textile.