Volume 2, Number 1
published April 2016
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VOLUME 2, NUMBER 1
If you believe that the soul of an artist is manifested through his art, then you must take tremendous pleasure in discovering a work that sends shivers down your spine. At that moment, you know that you met a soul mate. I also believe that the environment imprints itself on the soul, for all of us, through our memories. While most people share such memories only verbally, visual artists make the effort to share them through their artwork. The initial impression—a type of environmental imprint, which doesn’t even have to be a conscious act—is processed and implemented throughout the course of art-making into a visual form. One could speak of memory as a matrix, as a carrier of information and continuity. Such a concept may seem removed from the discourse on printmaking, particularly since it doesn’t necessarily connect to the creation of a (fine art) print. However, considering the idea of memory as a matrix may influence our opinions about the precarious situation of printmaking and the print, directing us to perceive the medium as autonomous yet omnipresent, on the edge between art and popular culture, entangled within its own ambivalent definition.
From the Editor
Printmaking as a Phenomenon of Thinking By Dorota Folga-Januszewska
[1,921 words] With the boundaries of art disciplines dissolved, the field of printmaking evolved into a phenomenon of thinking reflected in the creation of a matrix and its potential image. The matrix, as a concept and technical entity, embodies an openness to change, with the only constant variable being change in itself. But how can we build durability on the foundation of change?
Modernist Universalism Revived: Linocut Portraits by Joanna Piech-Kalarus By Barbora Kundracikova
[2,791 words] Joanna Piech-Kalarus’ portraits are recognized for their deeply personal yet equally alienating effects. Their monumental size only magnifies the display of a formal autonomous structure, which carries its own meaning and quality of expression. This autonomy of form resembles the principles of abstraction and speaks to the artistic strategy described in the modernist theory of “significant form.”
Alems, Tobacco Leaves and Puppets: Zdenka Golob's Printmaking Journey By Breda Skrjanec
[2,856 words] From the Islamic alems of the Herzegovinian landscape to human-like puppets enveloped in spatial silence, motifs stand at the core of Zdenka Golob’s oeuvre. This Slovenian artist’s intaglio prints, which often resemble the modernist works of the Ljubljana School of Graphic Art, exemplify a lifelong journey that entailed searching for just the right form—not too diverse, not too attractive, but evolved as a response to the problems of space and time.
Jiri Lindovsky on the Technical Mystery and Creative Intelligence By Katerina Kyselica
[3,861 words] In a conversation on printmaking and drawing, artist and professor Jiri Lindovsky explains his belief in the power of creative intelligence. His prints, drawings and paintings reveal mysterious entities carefully staged in static atmospheres. Like alien orbit stations, his subjects appear floating in calmness, suspended in time. Lindovsky’s artistic journey intertwines with his philosophical engagement in the complexities of the universe, despite the fact that he often draws inspiration from ordinary objects found within the four walls of his studio, such as electric outlets, broken light bulbs or bell peppers.