(2009) Final imprint

Gallery Ilije M. Kolarca, Belgrade 2009.

FINAL IMPRINT

Veljko Zejak: Printmaking in clay as markers of an epoch

The precise time in which objects are kidnapped from the every day from historical circumstances and social traditions and are transformed into creative, cognitive projections is no longer measurable. Glyptic technique and imprints of postal stamps, HYPERLINK, as well as minted coins or paper bills – those standard, ceremonial and sovereign faces of rulers, leaders and marked personas and their undertakings are now findings of archeological museum belonging. In the current media Babylon of the information age, the means for invalidation or evidence of truth are ever more scarcely found in the means of such verifications – in postal stamps and their nominal monetary value. Meanwhile, distinguishing the parameters of any term and its meanings have reached the point of spattering mental and physical endurance, which was especially evident in the past XX century. In the nature of miniature commemoration, postage stamps aimed at many world achievements of conquered matters in civilization, following social upturns and technological stages. Conscious of such burdens, Veljko Zejak transferred the cause and specific heaviness of the lightweight postal stamp as a relief symbol into inquiry of interaction with today’s feelings of the grandeur of value, as well as indifference, of standard placement in categories of addiction, prestige, guilt, suffering and responsibility, and certainly blurred memory. Rulers and leaders or nameless ancient clay silhouettes of human figures imprinted in the body of a stamp is the proper antithesis of the initial anthropomorphic inspiration. In its baked, earthy weight it attains the character of Babylonian occult beginnings. It is not without reason to observe such artistic expression in today’s media flows of intangible dimensions of light simulation. Finding ourselves in the expanding abyss of consumerism in both idolatry and worth of similar modes and bases, these prints are monuments given as imaginary transfer into the matrix of future motions, towards disappearance underground where multiple standard engraved characters can become extinct before the arriving eras of ever changing traditions. Veljko Zejak has in his sober and concentrated art of his own sculptural studio in his prints succeeded in thematically positioning himself as a conscious creator emancipated of any idealizations.

Nikola Šuica

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