2008. CTC

 

COLOR TREND collection

Technique: mixed media on canvas /
Size: 100 x 120 cm /
Year: 2008-2009 /
Exhibitions: 2008. Novi Sad, Serbian Academy of Arts and Science / 2012. Budva (Montenegro), Church Santa Marija, City Teatar / 2013. Aying (Germany), Gallery Aurum Magnum / 2014. Munich (Germany), Villa Mohr-Freiman

 

Sava Stepanov

Personalized artistic concept and attitude

Maja Erdeljanin began her creative adventure in the early nineties of the last century – when even as a student of the Academy of Arts in Novi Sad (BA 1995) in the class of Professor Dušan Todorovic, she started to exhibite in solo and group exhibitions.Although this early activity occurred in the setting of specific postmodern but even rationalistic art of the nineties, Maja Erdeljanin has not “agreed” with the then-current trends, instead she has quietly and gradually built her own statements. She appeared in the middle of the nineties – with specific “spread over” colorful expressionism (portraits, nudes), whose potency has increased emphasis on line and gesture in a series of subsequent landscape paintings. Holding onto reality and nature this painter has achieved – the nature of the painting. Selected motives, in her painting procedure, represent an initiative for establishing an authentic pictorial. Paintings of Maja Erdeljanin were always revealed as the sum of functional sincretic relations of the clearly visible art elements. Landscape geography is transformed into a topology of the painting, the artist succeeds in its very sense of color and its visual, physical and psychological signs, to merge into a coherent whole and harmonious complementary relations, to realize the unique artistic atmosphere within the painting, and with the atmosphere to express their own artistic potential, her own poetic sensibility and understanding of the world.

In the new decade Maja Erdeljanin enters with interesting exhibition project History of the Northern Sky (Planetarium at Petrovaradin Fortress, 2001) in which, as stated by Andrej Tišma: “Universe is not presented in the usual way as an infinite and dark space, but as the scene of the most beautiful serenity and color events”. This series is a turning point – for the first time Maja Erdeljanin enters into a landscape abstractions. During 2004 this artist has made a series of collages entitled Recyclescape – a painting is created by copying a collage, actually transpositioning the technique of oil, which leads to breaking up the rigid boundaries of form and surface uniformity” (J. Jovanov). In fact, based on models of selected newspaper ads, Maja Erdeljanin composes her painting. Although it is not an interpretation of above mentioned template but a sort of taking its visual-art principles, the role of advertising is fundamentally important.

This is exactly process that has Maja Erdeljanin used to replace the entire former pilgrimages relationship to the nature, by planting their own specific artistic expression to the world of total “iconsphere” (M. Porempski). Applying the specialkind of appropriation of the visible manifestations of global systems of communication, huge billboard advertising display, design, advertising – this artist has found an authentic work of art. Then in the pictorial achievements of the Maja Erdeljanin occurs a sort of lettrism (words, texts) that are nothing more than – formal and content – the elements of plastic tissue of the paintings… In these pictorial works of distinctive coloristic effects – texts like COLORTRENDcollection, Red is the color of life and joy.Enjoy life!, Yellow in harmony of diagonal composition, Orange & Blue – opposites attracts, and finally majaerdeljanin.com, are not just labels that are explaining or signing the painting, but are part of a specific philosophy in which this artist acceptsthe contemporary advertising “products” as a modern-day fact of life, as an impulse of everyday life, as an essential feature of a universal communication system completely infiltrated into the experience of our human civilization.

This pictorial concept is quite specific: a) the artist manages to retain within hers paintings its authentic visual qualities, to express their own sensibility and to produce a peculiar expression and poetry; and that she b) is highly critical (and even engaged) of the society in which she lives and works, according to the society in which the character of globalization is being imposed by psychology of social behavior of the controlled information… Further more, together with her paintings Maja Erdeljanin is the artist who, in the midst of a strong transition which is within the art more and more inclined towards mechanical and electronic image made without hands, protects humanistic background of hers paintings, because her own direct experience of the world is realized by manual action, and her own conscience and sensibility.

At the end it should be noted that at the actual moment artist Maja Erdeljanin in her paintings manifest creative attained maturity.Her visual art consists of really juicy layered visual-plastic, fully informative, philosophical and poetic conclusions. Maja Erdeljanin has succeeded to create a distinctive and clearly personalized artistic concept that, in an authentic artistic way, effectively demonstrate suggestive critical attitude towards the world and time in which she lives and works. And that is what this artist incorporates among the artists that we should believe in and whose art should be truly appreciated.

 

Sava Stepanov

Personalizovani slikarski koncept i stav

Svoju stvaralačku avanturu Maja Erdeljanin je započela početkom devedesetih godina proteklog veka – kada još kao studentkinja Akademije umetnosti u Novom Sadu (diplomirala 1995) u klasi profesora Dušana Todorovića, izlaže na samostalnim i grupnim izložbama. Iako se ta rana aktivnost dešavala u okružju specifične postmodernističke ali već i racionalističke umetnosti devedesetih, Maja Erdeljanin se nije “usaglasila” sa tada aktuelnim  tendencijama nego je tiho i postupno gradila vlastiti iskaz. Ona se sredinom devedesetih pojavila specifinim “razlivenim” kolorističkim ekspresionizmom (portreti, aktovi), čija je potentnost pojačana naglašavanjem linije i gesta u seriji potonjih pejzažnih slika. Držeći se realnosti i prirode slikarka je dospevala – do prirode slike. U njenom slikarskom postupku odabrani motivi predstavljaju inicijativu za ustanovljenje autentične pikturalnosti. Slike Maje Erdeljanin su večito bile uspostavljene kao zbir funkcionalnih sinkretičkih odnosa jasno vidljivih likovnih elemenata. Pejzažna geografija se pretače u topologiju slike, a umetnica uspeva da svoje izrazito osećanje za boju i njene vizuelne, fizičke i psihološke naznake, objedini u koherentnu celinu komplemantarnih i skladnih odnosa, da ostvari jedinstvenu likovnu atmosferu unutar slike, da tom atmosferom izrazi sopstveni likovni potencijal, vlastitu osećajnost i poetsko shvatanje sveta.
U novu deceniju Maja Erdeljanin ulazi zanimljivim izložbenim projektom Istorija severnog neba (Planetarijum na Petrovaradinskoj tvrđavi, 2001) u kojem se, kako to konstatuje Andrej Tišma “kosmos ne predstavlja na uobičajen način kao beskonačan i mračan prostor, već kao poprište najlepših svetlosti i kolorističkih zbivanja”. Taj ciklus predstavlja prekretnicu – prvi put Maja Erdeljanin dospeva u predele apstrakcije. Tokom  2004. godine ova umetnica je ostvarila seriju kolaža naslovljenih Rejciklaže – “slika nastaje kopiranjem kolaža, zapravo transponovanjem u tehniku ulja, što dovodi do razbijanja strogih granica oblika i ujednačenosti površina” (J. Jovanov). Zapravo, prema predlošcima odabranih novinskih reklama, Maja Erdeljanin komponuje svoju sliku. Iako se ne radi o interpretiranju pomenutog predloška već o svojevrsnom preuzimanju njegovih vizuelno–likovnih principa, uloga reklame je suštinski značajna. Upravo tim postupkom je celokupni dotadašnji poklonički odnos prema prirodi, Maja Erdeljanin zamenila specifičnim infiltriranjem sopstvenog slikarskog izraza u svet ukupne “ikonosfere” (M. Porempski). Svojevrsnom aproprijacijom vidljivih manifestacija globalnog komunikacijskog sitema, bilbordskog-ekranskog advertajzinga, dizajna, reklama – ova umetnica je ustanovila autentično umetničko delo. Tada se u pikturalnim ostvarenjima Maje Erdeljanin javlja svojevrsni letrizam (reči, tekstovi) koji nisu ništa drugo do – formalni i sadržinski – elementi plastičkog tkiva slike…  U tim pikturalnim ostvarenjima izrazitog kolorističkog dejstva – tekstovi poput COLORTRENDcoellection, Red is a colour of life and joy. Enjoy life!, Yellow in harmony of diagonal composition, Orange & Blue – opposites attracts, te konačno majaerdeljanin.com, nikako nisu tek natpisi kojima se objašnjava ili potpisuje slika, nego su deo jedne specifične filozofije u kojoj umetnica savremene advertajzing “proizvode” prihvata kao ovovremensku životnu činjenicu, kao impuls svakodnevlja, kao bitnu osobenost jednog univerzalnog komunikacijskog sistema potpuno infiltriranog u iskustvo čoveka naše civilizacije.
Ovakav pikturalni koncept je sasvim specifičan: a) umetnica uspeva da u svojoj slici sačuva autentičnu likovnost, da iskaže vlastiti senzibilitet i da iznedri osobenu ekspresiju i poetičnost; te da b) bude izrazito kritički raspoložena (čak angažovana) prema društvu u kome živi i stvara, prema društvu globalističkog karaktera u kojem se nameće psihologija kontrolisanog informatičkog društvenog ponašanja… Osim toga, svojim slikarstvom Maja Erdeljanin je je umetnica koja, usred snažne tranzicije kojom se unutar umetnosti sve više inklinira ka mašinskim i elektornskim nerukotvorenim slikama, čuva humanističko poreklo svoje slike jer vlastiti doživljaj sveta realizuje direktnom manuelnom akcijom, te sopstvenom svešću i osećajnošću.
Na kraju valja konstatovati da u aktuelnom trenutku slikarka Maja Erdeljanin u svojim slikama ispoljava dostignutu stvaralačku zrelost. Njeno likovno sočno slikarstvo poseduje odista slojevite likovno-plastičke, sadržinske, filozofske i poetske zaključke. Maja Erdeljanin je uspela da formira jedan osoben i jasno personalizovan slikarski koncept kojim se, na jedan autentično slikarski način, delotvorno ispoljava sugestivni kritički stav prema svetu i vremenu u kome živi i stvara. A to ovu slikarku uvrštava među umetnike kojima treba verovati i čiju umetnosti treba istinski poštovati.