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Jelena Jocić


Digitalization, virtual reality, the accelerated modern way of life, the exchange of information have led to the fact that printmaking is 2020 is not what it used to be in the past. New technologies and their usage have changed the traditional approach to the printmaking medium and transformed it. The ability to process images in computer programs has led to digital printmaking, as well as a change in today’s understanding of contemporary printmaking. A printed still from a movie or video clip could be regarded as an art print, printmaking is imprinting, a fingerprint imprinted in color and then on paper is a print. Social isolation, a consequence of living with the Covid-19 virus and the impossibility of working with others and using printmaking workshops and studios, forced me to look for alternative solutions for creating artistic depictions and images and transforming them into the printmaking medium. In my current artistic process of making a print, I also use the options of image processing on mobile phones. A new methodological approach to research, online data exchange, new interconnections and transformations of the media depending on the idea and concept, openness to the experiment are an inevitable part of the process in the development of contemporary printmaking. Printmaking is a complex process of combining several different technological procedures, without rejecting traditional techniques, from handicrafts in classical printmaking techniques (woodcut, engraving, lithography…) to digital printmaking, ready-made and virtual exhibitions and presentations depending on the context. New innovative approaches and adaptation to the moment in which we live are precisely the basis for the survival of printmaking on the contemporary art scene. The motives of my artistic research are abandoned and emptied modernist, industrial spaces - urban interiors of the BIGZ building, an architectural expression of Yugoslav modernism in the field of industrial architecture between the two world wars. The interiors of the abandoned spaces of modernist architecture of the 1930s symbolize transience, alienation, loneliness. Dealing with the interior architecture of the "BIGZ" building, my concept is based on the interpretation of the relationship between the individual and the collective in modern society.


       

J. Jocić, Abstract Space #..., 2020, mixed media, 50x50cm
J. Jocić, Abstract Space 2 #..., 2020, mixed media, 50x50cm
J. Jocić, Abstract Space 3 #..., 2020, mixed media, 50x50cm


Social isolation, a consequence of living with the Covid-19 virus and the impossibility of working with others and using printmaking workshops and studios, forced me to look for alternative solutions for creating artistic depictions and images and transforming them into the printmaking medium. In my current artistic process of making a print, I also use the options of image processing on mobile phones. A new methodological approach to research, online data exchange, new interconnections and transformations of the media depending on the idea and concept, openness to the experiment are an inevitable part of the process in the development of contemporary printmaking. Printmaking is a complex process of combining several different technological procedures, without rejecting traditional techniques, from handicrafts in classical printmaking techniques (woodcut, engraving, lithography…) to digital printmaking, ready-made and virtual exhibitions and presentations depending on the context. New innovative approaches and adaptation to the moment in which we live are precisely the basis for the survival of printmaking on the contemporary art scene.


   

J. Jocić, Space with Black and Brown #..., 2020, mixed media, 70x100cm
J. Jocić, Pastel Space #..., 2020, mixed media, 63x100cm


The motives of my artistic research are abandoned and emptied modernist, industrial spaces - urban interiors of the BIGZ building, an architectural expression of Yugoslav modernism in the field of industrial architecture between the two world wars. The interiors of the abandoned spaces of modernist architecture of the 1930s symbolize transience, alienation, loneliness. Dealing with the interior architecture of the "BIGZ" building, my concept is based on the interpretation of the relationship between the individual and the collective in modern society.


   

J. Jocić, New Space #..., 2020, mixed media, 70x100cm
J. Jocić, Blue Space with Yellow #..., 2020, mixed media, 70x100cm


By creating our own micro-worlds, our personal space becomes our place, our utopia through which we nurture our individualism. "Space is the Place" is the title of a music album by the African-American jazz musician San Ra 1, recorded in 1972 in San Francisco. Interpreted in an open, "free-jazz" form in which the artist combines different styles of intertwined rhythms of African percussion, cosmic synthesizer sounds and unusual harmonies, merging them into a kind of spiritual rebirth of the cosmos as a single universal place. Sun Ra creates his ideal space in the cosmos, displacing the individual from the oppressive collective to the ideal space, a world in which there are no inequalities and racial divisions. "Free-jazz" as a musical direction is close to abstract art and in its openness to various influences representing the most cosmopolitan expression of African-American avant-garde art.


   

J. Jocić, Blue Space with Red #..., 2020, mixed media, 70x100cm
J. Jocić, Space with White 1#..., 2020, mixed media, 70x100cm


Under the influence of the artists of modernism and abstraction (Pete Mondrian 2, Kazimir Malevich 3) and the constructivist symbolism of the Russian avant-garde (Alexander Rodchenko 4, Lyubov Popova 5), my works are increasingly geometrized and abstracted. By creating my artistic expression, instead of tones I use a visual language dominated by the relationships of geometric surfaces, crossed lines and drawings, I create my "Spaces # ...", my places, my personal universe. By adding on the complexity of the printmaking process, combining digital and traditional printmaking media, using several printmaking techniques (photolithography, lithography, screen printing, digital printing) on one piece of print, I attempt to create a new artistic expression in which abstract geometric relations between surfaces and drawing through lines that form different networks and relationships within a single space. Intense and pure color is dominant on my prints. With its intensity and transparency, I achieve multi-layered depth and ambiance of space. I get color transparency by adding emulsions for color decomposition, a result of which is a see-through effect created during printing. Frequent repetitions, a reiteration of motifs of urban interiors and their parts, as well as the play of light values on geometric surfaces, which occur due to the overlap and imprinting of one image over another, are artistic values that dominate my prints. By combining four to ten prints on one piece of work, I attempt creating a new optical situation in which is created an outside – inside enigma. My works from the series "Spaces # ..." with a mix of emptied and alienated spaces of corridors, huge elevators, and internal interspaces, represent a kind of symbol of the time we live in, interpersonal relations in big cities, alienation between people and spaces in which they live and which surround them. The interspaces of the BIGZ building, a multi-purpose historical building, in which various contents intertwine and meet the creative energies of modern urban life, represent the space that created the identity of my work and a new utopia.

PhD of Arts Jelena Jocic

Translation from Serbian: Maja Simić


Keywords: spaces, urban interior, printmaking, network, abstraction, drawing, photography, lithography, screen printing, digital printmaking, repetitiveness, musical direction - "free-jazz".

1 Sun Ra, Herman Poole Blount (1914-1993), American jazz composer, band leader, pianist and synthesizer player, poet known for experimental music, "cosmic" philosophy and theatrical performance.
2 Piet Mondrian (1872-1944), Dutch painter and theorist, founder of the group "De Stijl" and a representative of a new form of abstract art - neoplasticism.
3 Kazimir Malevich, (1878-1935), Russian painter, representative of the avant-garde and art theorist, founder of the artistic movement Suprematism and a pioneer of geometric abstract form.
4 Alexander Rodchenko (1891-1956), Russian artist, sculptor, photographer, graphic designer, founder of constructivism.
5 Lyubov Popova (1889-1924), Russian painter and designer, representative of the Russian avant-garde (Cubism, Suprematism and Constructivism).




Јelena Jocić (1970, Belgrade) graduated from the Faculty of Fine Arts in Belgrade (1997), Department of Graphics, where she received both her master’s degree (2000) in the class of Prof. Biljana Vukovic and PhD (2017), mentor Prof. Dimitrije Pecic. She is a Professor at the Polytechnic College of Applied Studies, Department of Design. She has been exhibited her work on 9 solo exhibitions and over 140 group national and international exhibitions. Her work has been exibited in New York City, Paris, Luxemburg, Liège, Québec, Thessaloniki, Sao Paulo, Seoul, Madrid, Budapest, Istanbul, Stockholm, Skopje and on many others international graphics biennials and triennials. She is recipient of several awards. The most significant graphic award is the Small Seal Award 2010. Her work “Bridges” is in collection of the Museum of City of Belgrade. She is a member of The Association of Fine Artists of Serbia (ULUS).

jocicjel@gmail.com



 

 

 
 
 
 
   
Grafički kolektiv , Kosančićev venac 19, Belgrade
tel: +381.11.3285.923; tel/fax: +381.11.2627.785
working hours 12-18, Closed on Saturday and Sunday