I am a multimedia visual artist with conceptual approach. My work examine identity (people, places, interaction/intervention in space). Till now, I have found a content of identity in a portrait. While I am doing portrait,
I treat potrait as an art composition to tell life stories.
To tell this stories, my approach to make portrait comes from classical school of art (painting, sculpture, graphics) with a combination of digital (photography,software programs).The way that I approach creating portrait, comes from the social, analytical and practical process of collecting documentations. Technically , while I am making a portrait, I maintain to do deconstruction-reconstruction procedure by adding or substracting details on portrait. I reshape, change concept, re-use, reconstruct and re-build over and over again.I use onomatopoeia/embodiment and personification - a characteristic of my culture - which is my way to allow my work to be continuously alive and never limited. . My deeper interest to build a portrait with this procedure comes from my collected experience while traveling and interacting with numerous amount of people. Important factors which I want to question in my identity-portraits are : internal and external interior, human diversity, human-individual or group interaction in isolation or institutional settings.
My latest work, which I started in May 2014, is based on my experience in the previous two years of living on ship as a cruise ship photographer. When I returned home, I noticed that I had developed a desire for repetition, texture and a wide color pallet. This amounts to some sort of exaggeration. These new elements in my work are completely opposite from my previous work, which began with a classical focus on the human presence, then developed into a more social/political engagement.
The current period is a result of the accumulation of both periods. When I realized and understood this and the differences that I have emerged, I started to give names and subcategories to my areas of interest. With my art, perhaps selfishly, I am simply telling my intimate stories .
My work examine identity (people, places, interaction/intervention in space).
My vision on concept of a identity is to try to modify this subject through series of portraits and figures.
I treat potrait as a composition. I use organic, fractal, plankton, mathematical, computer, geometric, alphabetical, font form as the basis of the composition of the portrait.
Primarily, my approach to create art comes from classical school of art (painting, sculpture, graphics) with a combination of digital. My process of creating portrait is in constant processing .
I maintain to do deconstruction-reconstruction by adding or subtracting details. The way that I approach creating portrait, comes from the social, analytical and practical process of collecting documentations.
Important factors which I want to question in my identity-portraits are : internal and external interior (location), human diversity (race, nationality, culture / ethnicity / subculture, gender, class (wealth / poverty), age, sexual preference, religion, political party, nationality) , human-individual or group interaction in isolation or institutional settings (personality, preferences, interests, needs, abilities, skills, capacities, perspectives, ideas, feelings, emotions, mood, opinion, attitudes, beliefs, ego, values, dreams, vision, desires, wishes, connections, resources, habits, lifestyle, cognitive styles, communication, stories, histories, myths, experience, responses, tolerance, physical appearances, roles, families, education, information, health, status).
When I create portrait, It doesn't have to be necessarily visually logical documentation of a face. I rather rely on understanding something considering human diversity. My latest desire to express this kind of perception on identity is highly connected with space, and such as seeing that in that visual form, I would rather see human face as construction , build as a house. With a lot of layers, of course creating a shapes and signs inspired by nature, such as floral, geometric or abstract forms. All though I am not trying to avoid obvious representation of human face features, I guess my experience working and living as a photographer on cruise ship , where I had possibility to meet every week more then 1000 ( new) people for two years, made me to upgrade my perception on human face now.The work I am doing in my latest series are portraits which represent a culture of specific identification of environment I have acknowledged true my ship life.
This approach of building portrait is formed from combination of previous personal experience of interacting with a numerous group of people (a combination of different schools, jobs, hobbies, travel) with a combination of my two-year experience of work on the ship, where I had the opportunity to meet, work and communicate with a huge amount of people.
As a multimedia visual artist, with conceptual approach, Maja has developed the desire to use different identities, so she can explore diverse subjects in different ways. Her influences and the desire to use different names began when she was a child. The conservative neighborhood she grew up in, her position/status as a girl/female in that environment, and the situation (war) in BIH, forced her to find a way to inform herself and find her own freedom. Curiosity + different names re-routed her to amazing places - real and imagined - and gave her the possibility to learn about life and people. From that she developed an interest in how to pursue and deepen her research, and how to scatter bits of accumulated information onto different pieces, always leaving something secret, undisclosed. These secrets – undisclosures - open up further options and the possibility to reshape something that is already created. Rather than being concerned with different media, the year of the created work, a selective order – the creative moment is her concern. It is often rooted in necessity.
The medium that she use at any moment is just an instrument; she have to use what is available, possible, and therefore it is not always ‘ideal’.
Her latest work, which she started in May 2014, is based on her experience in the previous two years of living on ship as a cruise ship photographer. Her work is completely opposite from her previous work, which began with a classical focus on the human presence, then developed into a more social/political engagement. The current period is a result of the accumulation of both periods. When she realized and understood this and the differences that have emerged, she started to give names and subcategories to her areas of interest. With her art, perhaps selfishly, Maja is simply telling her intimate stories, using her right to tell stories. She want's the observer to approach her work without expectations, to merely let her be a storyteller.