In a hybrid practice that weaves traditional printmaking with digital elements, Milan Milojevic threads wild landscapes with the richness of altered fauna, flora and mythological creatures. His newest exhibition converges on one visual motif: the waterfall.
With Flow, Milojevic gravitated towards the waterfall after seeing a postcard depicting the gushing water, which he merged with the ongoing influence of Japanese prints. Milojevic explains that it’s what the waterfall signifies that is essential: “In one sense a waterfall is permanent, but it’s always in flux.” He continues, “But it’s really a symbol of a release of emotions, a rejuvenation, a renewal of spirit. It’s a positive thing.”
As with much of Milojevic’s decades-long practice, the prints in Flow are collaged and layered from a glossary of images and historical references.
While there are newer influences like David Hockney’s iPad paintings, Milojevic largely draws from representations of the world before the photograph: engravings from the 18th century, naturalist artists, artefacts from museums, historical dioramas and imagery from old encyclopedias.
In referencing this period of discovery, Milojevic draws on his own crosscultural German and Serbian heritage. “I’ve been creating these hybrids of animals and landscapes that reflect being in my cultural position,” he explains. “I’ve created a lexicon of different images that I collage together and create these worlds, which in my mind are somewhere between my heritage in Europe and being here, in Tasmania.”
As with the waterfall, this paradoxical state of existing both permanently and malleably is what defines personhood for Milojevic, and links to the larger meaning of his prints: “It has mystery, excitement and curiosity, but there’s something left. There’s space to go and for new experiences, to escape.”
13 September—1 October
This article was originally published in the September/October 2019 print edition of Art Guide Australia.