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Katarina Andjelkovic, PANdemia PANscape. Sequence 1. Digital graphics on mirror, 2021.Katarina Andjelkovic, PANdemia PANscape. Sequence 2. Digital graphics on mirror, 2021.Katarina Andjelkovic, PANdemia PANscape. Sequence 3. Digital graphics on mirror, 2021.Katarina Andjelkovic, PANdemia PANscape. Sequence 4. Digital graphics on mirror, 2021.
In ancient Greek religion and mythology, Pan is the god of the wild, shepherds and flocks, nature of mountain wilds. He was also considered a cause of sudden and unjustified fear. Being a rustic god, Pan was not worshipped in temples or other built edifices, but in natural settings, usually caves. Inspired by Pan’s world, the project uses narrative visual devices, fragmentation techniques and image layering, to provide an insight into ways of inhabiting the non-human space. Contrary to expectations, instead of analyzing the collective destiny of the post-pandemic world, the project deals with the possibilities for understanding architecture through the lens of metaphysics, the magical and the fantastic. A repetition of the only recognizable motifs, stairs and lights on the horizon, opens a portal between reality and fantastic underground worlds that are accessed similarly to Alice through a hole that leads to Wonderland. At the same time, the horizon itself represents the flow of time, nature, and power within the system distorted by a twisted perception of the horizontal plane. Leaving the observer’s imagination to define the scale of structures without any known referent, the author transforms the spaces of the known into the territory of abstract architectural reveries. A series of digital graphics is created in the combination of digital drawing techniques, moving image editing programs and manual drawing techniques, in several stages. Dominant gray tones are created by overlapping layers of different textures, creating rich dark tones, often black surfaces, and fragmented rhythmic transitions of coloured texture. These tones are contrasted by key areas of open white, which often represent the ground into which the imagined spaces of halls, staircases and atriums are engraved.
Lecture
As part of the exhibition, the author will give a multimedia lecture titled “Surrealism and the architecture of end space,” on August 25, 2021, at 18:30h.
Biography
Katarina Andjelkovic (1983, Yugoslavia), with a Ph.D., M.Arch.Eng., is a theorist, practicing architect, researcher and a painter. She is a high-skilled draftsman, writer and a researcher. Katarina’s research, writing and teaching is transdisciplinary and crosses architecture, visual arts and film. In Spring semester 2021, Katarina is the main instructor of the Hand-drawing course: the Face[s] of Architecture in New York City. She served as a Visiting Professor, Chair of Creative Architecture, at the University of Oklahoma U.S.A., Institute of Form Theory and History in Oslo, Institute of Urbanism and Landscape in Oslo, University of Belgrade – Faculty of Architecture, and guest-lecturing and mentoring at Master Studies of TU Delft – Faculty of architecture and the built environment, Doctoral studies of AHO – Oslo School of architecture and design, FAUP Porto, DIA Anhalt Dessau, SMT New York, and Bachelor studies of ITU – Istanbul Technical University. She lectures internationally at conferences in architectural representation, modern aesthetics of architecture, film-philosophy, drawing research and visual culture in more than 26 countries in Europe, United Kingdom, North America and Canada. Katarina has published her research widely in international journals (Web of Science) and won numerous awards for her architecture design and urban design competitions. She is a full author of the Preliminary Architectural Design, a national project supported by the government of Serbia. She won the Belgrade Chamber of Commerce Award for Best Master Thesis defended at Universities in Serbia in all disciplines. Katarina has published two monographs; an upcoming book chapter and several journal articles with Intellect UK. Andjelkovic exhibited her artwork at 5 Solo Exhibitions and at many international architectural, fine arts and photography exhibitions, including group exhibitions at Pall Mall Gallery in London, Royal Hibernian Academy in Dublin, MAAT Museum in Lisbon, International Biennial of Illustration ”Golden Pen” in Belgrade, TU Delft in the Netherlands, the Museum of Applied Arts in Belgrade, the National Museum in Belgrade, Gallery Singidunum in Belgrade, Stepenište in Art Education Center ”Šumatovačka”, Gallery of the Central Military Club, Suluj Gallery, Pavillion Cvijeta Zuzoric of the Association of Fine Artists of Serbia, and Mala Gallery of the Association of Fine Artists of Applied Arts and Designers of Serbia.
About Mala Gallery of The Association of the Artists of Applied Arts and Designers of Serbia
Mala Gallery and Singidunum Gallery of The Association of the Artists of Applied Arts and Designers of Serbia, 12 Uzun Mirkova Street and 40 Knez Mihailova Street, are the center of cultural, tourist and business events in Belgrade. Located in the city center, these galleries are committed to nurturing long-term relations to the ancient history of Belgrade, while permeating and connecting art in the field of applied arts and design with the interests of a wide and diverse audience. Galleries are designed as a sales-type for works in the field of applied and fine arts.
Exhibition opening: Wednesday, 25th August, at 18h.
HackelBury Fine Art, London is pleased to present: Elemental Forms, Landscape, a solo exhibition of new work by Nadezda Nikolova-Kratzer in which her love of nature and concern for the environment is reflected in her abstract landscapes which capture “the still point of the turning world”. (T.S. Eliot ‘Four Quartets’). Nikolova-Kratzer chooses a balancing act in her work between control and surrender, simplicity and intricacy, light and darkness. She uses simple shapes to create her photogram silhouettes, yet she works with a complex set of variables including temperature, humidity and the timing of the exposure – factors that fundamentally affect the outcome. Nikolova-Kratzer embraces this as she feels strongly that “it is this artifact of chance that brings meaning and excitement to life.”Her work becomes a metaphor for having the fearlessness to embrace the unknown.
Drawing on poetry, literature and a myriad of artistic influences including Japanese Notan design, Matisse paper-cuts and the organic landscapes of Georgia O’Keefe, Nikolova-Kratzer creates photographic compositions which become sculptural in their focus on the object yet have the depth and thought of a painting. Using geometrical shapes and floating planes, these works build on her preceding series of landscapes taking them to a higher level of abstraction. With the materiality of the photographic medium, she seeks to record intangible aspects of the landscape, as she experiences them, through immersion and observation, without the camera’s capacity for transcription.
Her practice is inextricably linked to her way of life. The physical process of creating work uses her daily ritual of walking in the redwood forests near her home in Oakland, California to connect with nature and respond intuitively whilst reflecting her belief in the concept of immanence.
About Nadezda Nikolova-Kratzer
Nadezda Nikolova-Kratzer (b. 1978, former Yugoslavia) is an artist working with wet plate collodion photograms – a historical technique dating back to the 1850s which uses light-sensitive salts to cover a glass plate before exposing it to the light in a portable darkroom. Her practice is informed by an experimental approach to early photographic processes and her interest in the image as an object. Captivated by the fluidity of wet plate collodion, she manipulates the medium while simultaneously courting chance intrinsic to handmade photography: “I spray, dab and brush on the chemistry in a performative enactment rather than an image capture. (Sometimes, the brush strokes leave physical marks on the emulsion.) In essence, I am negotiating with the chemistry, guiding it. But only to a point. The chemistry has a say in the final image.” Nadezda Nikolova-Kratzer.
The abstract landscape series, Elemental Forms, Landscapes and Elemental Forms, Landscape Rearticulated, emerged as the artist’s direct response to her surroundings and to feeling a sense of wellbeing and security within the landscape. She believes that each locale has its specific identity, history, and emotional imprint. Nadezda Nikolova-Kratzer has a degree in conservation and environmental sciences and a Master’s in Public Policy. She went on to study photography and historic processes at George Eastman Museum with Mark Osterman and at the University of Kentucky. She was a finalist for the 2018 LensCulture Exposure Awards. She lives and works in Oakland, California.
About HackelBury Fine Art
Founded by Sascha Hackel and Marcus Bury, HackelBury Fine Art deals in 20th and 21st century artworks. Established in 1998, the London gallery in Launceston Place is committed to nurturing long-term relationships with both artists and clients. It continues to evolve and progress through an expanding program of gallery exhibitions, museum projects and publishing ventures. The small group of artists with whom HackelBury work, represent a diversity of practice, pushing the boundaries of various media. The work and practice of these artists encompasses the worlds of photography, painting, drawing, sculpture, architecture and performance. Each artist, whether emerging or established, creates work defined by a depth of thought and breadth and consistency of approach.
HACKELBURY FINE ART LTD 4 LAUNCESTON PLACE, LONDON W8 5RL T: 020 7937 8688 www.hackelbury.co.uk
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