(2006) Printmaking in clay

Dom Omladine Gallery, Belgrade 2006.


Ancient Mesopotamian culture – the cradle of civilization – is also the birthplace of writing and marks the beginning of history. Cuneiform script documents were engraved in clay tablets and sun baked. Some such records endured over 5 thousand years and are still in tact today. Simultaneously this area of the world is where the process of globalization – the most current issue of today’s civilization – is the most apparent.

Cylindrical stamps are typical symbols of personal property and ownership, which were used to mark documents during the Uruk period and for centuries later. The engravings on stamps reflect the experience of the monumental style of high relief present in Mesopotamia. These stamps that originated from 3300 B.C. are noted by representations of animals and ornaments with heraldic symbolism. By printing these stamps on clay tablets, a continuous relief frieze is created, which can through further rotation be extended to infinity.

As art artifacts of archaic Mesopotamia, the clay tablets and cylindrical stamps served as direct inspiration in creating the exhibited works and in developing the innovative technique in clay. Printing in clay (Hyperlink…) presents a printmaking technique that I have been developing since 2001. Printing on clay tablets provides these prints with spaciousness, mass, and a relief structure.  Through this technique I created a link between sculpture, printmaking and ceramics – or the art disciplines I use for creative expression.

Study of the flow of history, ideology, the imminence of the globalization problem, the identity of the individual, and the evolution of iconography – from Mesopotamia through Brueghel – ends with the iconic portrayal of the postage stamp with the image of Tito.

Awareness of the object and its imprint on the surface through which a string of replications is formed as a printmaking cliché is ever-present. Variations within a seemingly repeated image evoke examination of the sequence of events formed by continuous impressions on the body. The formation of chains of these replications is executed with controlled mathematical, geometric methods through the study of mathematical functions of infinity and practical geometry. This method of arrangement of the images and their subsequent reading is viewed as an organism consisting of chains of repeating codes construe the dominant idea of this exhibit.

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