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... The core of this work is constructed around a specific concept of a self-portrait, more specifically the body of the artist, processed in serial printing on various surfaces (enamel surfaces, (cotton cloth, Plexiglas, paper, wood, glass and ceramic tiles) in identical horizontal positions that reintegrate the different experiences of working in different printmaking media and the ritual daily life that seek to establish a new balanced relation between the concept and the practice of the (im)print, touch and contact. ... The pieces entitled Bath maybe presents the first generic act of this kind of introspection in whose center is the artist’s body, brutal material printed in life-size proportion of 1 to 1 (the imprinting of the body took place in the bathtub of the flat the artist lives in) in an attempt of empathy and reintegration with the vanished presence of the spirit of the previous tenants or what the studies of cultural anthropology calls the fatal encounter with one’s virtual twin or the obligatory Other. The artist said about this work: “In the first version I imprinted the face with my open mouth positioned in such a way that the opening of the mouth covered the opening of the drainpipe, thus I was able to stress that it was not only the matter that goes down the drainpipe but also breath and life, as well as to more convincingly convey the impression of the volume of the hole, an unknown void in which everything disappears. Intending to stress the aspect of transience, in the second print I positioned myself in such a way as to indicate suffering and death, to allude to the fetal position of the dead in ancient graves, but without serenity, with the head thrown back in a scream of despair. The third print is made up of two prints of the body turning, alluding to the last convulsion, an attempt to overcome death, prolong life”. (From Experimental Cases of an Anthropometry by Jelena Krivokapic)
... The core of this work is constructed around a specific concept of a self-portrait, more specifically the body of the artist, processed in serial printing on various surfaces (enamel surfaces, (cotton cloth, Plexiglas, paper, wood, glass and ceramic tiles) in identical horizontal positions that reintegrate the different experiences of working in different printmaking media and the ritual daily life that seek to establish a new balanced relation between the concept and the practice of the (im)print, touch and contact. ... The pieces entitled Bath maybe presents the first generic act of this kind of introspection in whose center is the artist’s body, brutal material printed in life-size proportion of 1 to 1 (the imprinting of the body took place in the bathtub of the flat the artist lives in) in an attempt of empathy and reintegration with the vanished presence of the spirit of the previous tenants or what the studies of cultural anthropology calls the fatal encounter with one’s virtual twin or the obligatory Other. The artist said about this work: “In the first version I imprinted the face with my open mouth positioned in such a way that the opening of the mouth covered the opening of the drainpipe, thus I was able to stress that it was not only the matter that goes down the drainpipe but also breath and life, as well as to more convincingly convey the impression of the volume of the hole, an unknown void in which everything disappears. Intending to stress the aspect of transience, in the second print I positioned myself in such a way as to indicate suffering and death, to allude to the fetal position of the dead in ancient graves, but without serenity, with the head thrown back in a scream of despair. The third print is made up of two prints of the body turning, alluding to the last convulsion, an attempt to overcome death, prolong life”. (From Experimental Cases of an Anthropometry by Jelena Krivokapic)
... The core of this work is constructed around a specific concept of a self-portrait, more specifically the body of the artist, processed in serial printing on various surfaces (enamel surfaces, (cotton cloth, Plexiglas, paper, wood, glass and ceramic tiles) in identical horizontal positions that reintegrate the different experiences of working in different printmaking media and the ritual daily life that seek to establish a new balanced relation between the concept and the practice of the (im)print, touch and contact. ... The pieces entitled Bath maybe presents the first generic act of this kind of introspection in whose center is the artist’s body, brutal material printed in life-size proportion of 1 to 1 (the imprinting of the body took place in the bathtub of the flat the artist lives in) in an attempt of empathy and reintegration with the vanished presence of the spirit of the previous tenants or what the studies of cultural anthropology calls the fatal encounter with one’s virtual twin or the obligatory Other. The artist said about this work: “In the first version I imprinted the face with my open mouth positioned in such a way that the opening of the mouth covered the opening of the drainpipe, thus I was able to stress that it was not only the matter that goes down the drainpipe but also breath and life, as well as to more convincingly convey the impression of the volume of the hole, an unknown void in which everything disappears. Intending to stress the aspect of transience, in the second print I positioned myself in such a way as to indicate suffering and death, to allude to the fetal position of the dead in ancient graves, but without serenity, with the head thrown back in a scream of despair. The third print is made up of two prints of the body turning, alluding to the last convulsion, an attempt to overcome death, prolong life”. (From Experimental Cases of an Anthropometry by Jelena Krivokapic)
... The core of this work is constructed around a specific concept of a self-portrait, more specifically the body of the artist, processed in serial printing on various surfaces (enamel surfaces, (cotton cloth, Plexiglas, paper, wood, glass and ceramic tiles) in identical horizontal positions that reintegrate the different experiences of working in different printmaking media and the ritual daily life that seek to establish a new balanced relation between the concept and the practice of the (im)print, touch and contact. ... The pieces entitled Bath maybe presents the first generic act of this kind of introspection in whose center is the artist’s body, brutal material printed in life-size proportion of 1 to 1 (the imprinting of the body took place in the bathtub of the flat the artist lives in) in an attempt of empathy and reintegration with the vanished presence of the spirit of the previous tenants or what the studies of cultural anthropology calls the fatal encounter with one’s virtual twin or the obligatory Other. The artist said about this work: “In the first version I imprinted the face with my open mouth positioned in such a way that the opening of the mouth covered the opening of the drainpipe, thus I was able to stress that it was not only the matter that goes down the drainpipe but also breath and life, as well as to more convincingly convey the impression of the volume of the hole, an unknown void in which everything disappears. Intending to stress the aspect of transience, in the second print I positioned myself in such a way as to indicate suffering and death, to allude to the fetal position of the dead in ancient graves, but without serenity, with the head thrown back in a scream of despair. The third print is made up of two prints of the body turning, alluding to the last convulsion, an attempt to overcome death, prolong life”. (From Experimental Cases of an Anthropometry by Jelena Krivokapic)
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Bath 1 - Limited Edition 2 of 20 Photograph

Maya Simic

Serbia

Photography, Digital on Paper

Size: 27.6 W x 39.4 H x 0.1 D in

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About The Artwork

The crux of this endeavour is intricately woven around a nuanced conception of self-portraiture, specifically centering on the corporeal form of the artist. Executed through serial printing across diverse substrates—enamel, cotton cloth, Plexiglas, paper, wood, glass, and ceramic tiles—these renderings adopt identical horizontal orientations. In this methodical convergence, disparate encounters within various printmaking mediums and the quotidian rituals of daily existence coalesce, striving to forge a harmonious nexus between the theoretical underpinnings and the pragmatic execution of the (im)print, touch, and contact. The series titled "Bath" ostensibly inaugurates the inaugural manifestation of this introspective paradigm. At its core lies the artist's corporeal entity, a raw material etched onto the canvas in life-size proportions (a meticulous 1 to 1 ratio), the imprinting unfolding within the confines of the artist's residential bathtub. This endeavour, undertaken as an act of empathy and reintegration, seeks to commune with the ethereal remnants of preceding inhabitants—what cultural anthropology dubs the fateful encounter with one's virtual doppelgänger or the imperative Other.

Details & Dimensions

Photography:Digital on Paper

Artist Produced Limited Edition of:20

Size:27.6 W x 39.4 H x 0.1 D in

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My artistic creations manifest the nuanced tension that permeates the junctures between life's unyielding realities and the impulsive stirrings of creativity, often materializing as ambivalent projections oscillating between the tangible and the fantastical. Central to my inquiry are fundamental questions probing the essence of my existence – why does my life unfold as it does, what emotions stir within me, what propels me forward, and how does it manifest visually? I craft introspective dialogues that traverse the realms of the internal and the external, the ethereal and the corporeal. The body, in my oeuvre, serves as a medium, transmitting profound meanings across the diverse stages of life – navigating the complexities of growth, maturity, motherhood, and the inexorable march of time. While my works stem from the autobiographical, constituting imprints of the soul and windows into self-awareness and revelation, they transcend individual narratives. They metamorphose into metaphors encapsulating the universal struggles and challenges faced by women at large. These creations, seemingly a resonant voice of feminist consciousness, extend beyond, resonating as a desperate plea for sustenance in the arid expanse of contemporary society, marred by prejudices against women and their societal standing. In my artistic practice, I deem digital media the most fitting conduit for my ideas. Its emergence has not only shifted the emphasis from manual to conceptual authorship but also aligns seamlessly with my artistic rhythm and cognitive processes. This choice is a deliberate embrace of a medium that echoes the contemporary zeitgeist and provides a fertile ground for the exploration of complex themes. Maya Simic is a Belgrade-based visual artist and Professor at the Printmaking department of the Academy of Arts in Novi Sad. She has been creating intermedia works of printmaking, photography and video art since the late nineties. Maya graduated in 2002, received her Magistra of Arts degree in 2005 and her PhD in 2020 at the Faculty of Fine Arts in Belgrade. Since 2001, she has exhibited internationally at 13 solo and more than 150 group exhibitions across Europe, the USA, China and South Korea.

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