Maja Maljević Workshop Visit
16th September 2010 | Other items by Juliet White |
2010.09.09 – Maja Maljević first participated at the David Krut Print Workshop (DKW) in 2007 and since then has created several bodies of work with the DKW printers. In 2009 she had a solo exhibition of prints and paintings at David Krut Projects in Johannesburg, called Into the Spine. She has been working at the Arts on Main DKW print workshop, since July this year, on material for the upcoming Monotype Project exhibition next month.  Maja Maljević and printer Jillian Ross at DKW in 2009.  Into the Spine exhibition at David Krut Projects, Johannesburg. In a recent conversation about her prints, Maljević states that although some of her work is quite figurative, she is not so interested in conveying a narrative story through her art. “I tried to concentrate on the process of building and layering imagery, which is a central concern of mine when painting.” For Maljević the process is important because through the techniques the image begins to emerge. The work asks to be read, perhaps more as a page of music than a story. Her work is heavily influenced by music and to Maljević art should be like composing music. Her bright use of colour in her abstract work seems to explode across the page like noise, while in the linear and figurative prints, “each colour or stoke becomes like a note or rhythm.” In terms of her imagery she tries to be more abstract. “It’s too easy to be figurative all the time - even with portraits created in an abstract way.” Maljević began her career painting very abstract images. She said that before moving to South Africa, from Serbia, in 2000 she has in fact become more figurative. Not just that but her works seem to have become brighter. It was not really a notable transition, nor was it a conscious decision, until she really thought about it. “Maybe it’s brighter in South Africa than Serbia…” She says that everything should be inspiring. Although there is constant reference to the fact that she had to leave homeland due to political upheaval, her work is not about political commentary. Maljević feels that if you are going to be a social commentator in your art, it’s going to be expected of you.   As a painter she explains that “with a paintbrush, you know what you are going to do. The hand has been trained and it knows what to do. It’s not childlike or fresh.” Sometimes she makes a point of painting with her left hand to try and challenge what her right hand already knows. Unlike most printers, she enjoys the mistakes, mess and unintentional marks. She believes that if you don’t create the layers, you don’t get the end result and the marks, whether intentional or accidental, are integral to this process. When talking about her current work, she says, “As a matter of course, I tried to incorporate any mishaps, mistakes and leftovers into my working process.” Beginning with the background, Maljević used spit bite etching[1] to tone down the ‘whiteness’ of the paper. In some cases she uses the ghost image, or residue left from the secondary printing of a plate, as a background or a starting point for the development of a new print. She says that, “In other prints, the idea of layering was explored by printing onto both sides of a translucent sheet of paper. This allowed for a composite image to develop where one is able to read the ‘reverse’ print through the print on the front side of the paper.” Chine collé paper is used and fused with a larger piece of paper to create the impression of a solid image. Maljević often prints hardground etchings[2] onto the monoprints to create another layer in addition to any other medium that’s available to her. About her current monoprints, she says, “This time Jill gave me crayons to experiment with and, like a child with a new toy, I became entranced with them and the effect they produced. I think all of these monotypes include the use of crayons as a result (I might even have ‘cheated’ and drawn directly onto a ‘finished’ print with them).” Chips from crayons that flake off while drawing also become an aesthetic in her work.  Alot, monoprint, 2009  In my mind, monoprint, 2009 In general, she feels that humour is important. Maljević doesn’t want her work to be represented by any concrete or pivotal meaning. “Painting requires experience, dedication, boredom, excitement, dissatisfaction and an eye for possibilities.” (Spier Contemporary, 2010) As a painter, she normally works alone and was excited to work with Jill again for this project. She says, “I enjoy the collaborative aspect of printing and have often nagged Jill (Jillian Ross, DKW manager) to introduce me to new techniques that I can play with. Basically, I always suspect that she has something up her sleeve, something new for me to work with or build my images around.” She goes on to describe the benefits of working at DKW at Arts on Main in that there is a constant flow of communication, collaboration and energy that you can feed off. On the same thought, she humorously adds, “I am always hungry, and I know that Jill is [also] hiding a new ingredient that I can cook with.” |
 This exhibition is part of the ongoing David Krut Print Workshop (DKW) Monotype Project involving six young artists who, over the last two months, have collaborated with DKW printers to create a series of works which will be featured both at the Parkwood Workshop gallery as well as the Arts on Main space. The second part of the monotype exhibition programme will open on Thursday 7 October at 6pm at The Workshop gallery @ 140 Jan Smuts Ave, Parkwood, featuring works by Fred Clarke, Alexandra Makhlouf, Vulindlela Nyoni, Stompie Selibe and Jessica Webster. David Krut Projects @ 142 Jan Smuts presents an exhibition including the extraordinary works of International artist, Julian Opie.  |  | SA Fashion Week Collaborations  Monotype with Guillotine 10 minute performances at 7pm and 9pm, 29 September This innovative performance piece will consist of fashion, design, sound, movement and printmaking. Location: David Krut Print Workshop, Arts on Main. Collaborators: Lisa Jaffe of Guillotine, Architect Eduardo Cachucho, Printmakers Jillian Ross and Mlungisi Kongisa, Artist Maja Maljević, Musician João Orecchia, Grethe Fox and Project Manager Brendan Copestake. |
  Selvage with Strangelove Main Street Life foyer 23 September - 23 October Atrium at Arts on Main 27 September - 3 October Fashion week will see the second collaboration between the David Krut Print Workshop and Fashion Design label Strangelove in two installations at the Maboneng Precinct. David Krut Projects, Jan Smuts - Taryn Hackett taryn@davidkrut.com - 011 447 0627 |
Monoprints:
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| Blue on Green |
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| Growing |
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| Head |
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| Helicopter |
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| In the Middle |
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| Landscape |
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| Long Nose |
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| Mutual Stuff |
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| My Map |
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| New Times |
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| Progress |
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| Rabbit |
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| Resting |
Drawings:
