With a one-day exhibition, the Montenegrin sculptor, now master, Maja Čakalović, defended her master's thesis "Designing contemporary sculpture based on symbolism and tradition that has been defined over time - shield, book, jewelry" in Bar last week. The exhibition under masks and with a smaller/limited number of attendees was staged in the "Velimir A. Leković" gallery, and Čakalović also announced for "Vijesti" a "real master's exhibition" that should be opened at the end of the summer, also in her native Bar.
In addition to the theme that she chose as the leading one in her research, Čakalović has so far dedicated her work to the symbolism of the shield, book and jewelry, which was defined over time and which she herself recognized.
"For me, the topic I chose was very inspiring, because, working on it with a lot of love, I experienced it as a kind of journey through time on the wings of the cult of the past," says Čakalović, who was postponed by the corona virus to defend her master's thesis, she admits.
"Regarding the previous situation with the corona virus and that period, I can say that it was a creatively filled time for me. This whole situation bothered me at the beginning because it all started a week before the scheduled defense of my Master's thesis, but later, when I spent most of the time in the studio and enriched the exhibition with a few more new works, then I realized that I had not lost anything, but that I'm on the winning side," points out Čakalović in an interview with "Vijesti".
In what way do symbolism and tradition correspond with contemporary sculpture in your works, how do you combine these directions? And how important is it to preserve the traditional in the modern age?
It seems to me that everyone can recognize a part of themselves in the objects - symbols that are the subject of the master's thesis: SHIELD, BOOK and JEWELRY. Dealing with this topic, I tried to show a mix of different, yet similar states between the works, through various eras, using recognizable artistic elements to keep the story in continuity.
Shield, book and jewelry are, in a way, a theme or process of human creation since the beginning of civilization. How did they become the center of your (so far) creativity? What kind of symbolism do these objects carry?
Of the countless objects that are generally accepted symbols of faith, luck, evil, longevity, love, authority, wealth, fertility, and so on and on, the shield, book and jewelry were the most common subjects of my sculptures even during my studies. The shield - as an object taken out of its context, creates an allegory and represents the protection of intellectual thought, ideas, wisdom and art.
A book - handwritten, printed, which throughout history had a strong influence on culture, science and the development of humanity.
Jewelry - as a testimony that people have always loved ornaments, which preserves the experiences and heritage of bygone times. Since for a long time jewelry was made mostly by hand, it also bears witness to the influence of epochs on folk art.
How do the shield, the book and the jewelry form the unity of your expression, what was the path of discovery of that inspiration, finding meaning in them, your own space for action? I have already mentioned the symbolism of those objects over time, but how can they be viewed today, how do you are you watching? In modern life, how much has their symbolism moved away from the original in the human eye and mind?
The most common motif of my work is the shield. Shield - an object taken out of its context, creates an allegory and represents the protection of intellectual thought, idea, wisdom and art. As such, it has a recognizable appearance - purposeful aesthetic categories. For me, as an artist, the motif of the shield represents a special internal psychological defense mechanism against reality and its contemporary companions embodied, first of all, in uncontrolled technological progress.
In my interpretation, for example, "Jewelry" is only the starting point for the creation of a new object whose appearance goes beyond the impression of a decorative one and acquires the dimension of a work of art. While in the cycle "Books" I find the contemporary "unbearable lightness of existence", that is, the weight of the materialized past, trying to revive it, feel it and place it as an object present in everyday space.
It is obvious that you combine materials that may not be easy to do at first glance... What are those materials, why and how do you choose them? How important is the expression of a sculptor?
Each cycle is significant because of the material I used, and familiarity with the material, respect for its autonomous properties and specific qualities, were my guide in creating sculptures that I gave a personal, intimate, universal and timeless character.
The most common materials from which my sculptures are made are various types of metal in combination with wood, and I do not run away from others such as clay, i.e. terracotta, stone, polyester and the like... In essence, I try to use and bring back to life already used and discarded material on which you can feel the traces of time. Whether they are parts of some machines or boards that have already been used for some purpose. And when I use a new one, I play with the patina to achieve the result of the old and worn material.
You also announced that you are planning a "real Master's exhibition" in the fall. When and where might this be expected?
Yes, considering the situation that we have all been experiencing for the past few months, unfortunately the defense of the master's thesis had to take place under masks and with as few people present as possible. For this reason, I decided due to the interest of the audience, dear friends and great art lovers, and of course with the great support of the manager of the "Velimir A. Leković" gallery, Milun Lutovac, to repeat the exhibition at the end of the summer. The works will be exhibited in the aforementioned gallery in Bar. The date has not yet been specified.
Given that you are a young and already noticed artist, is it and how difficult is it to fight for your own place on the art scene in our country, how do you see the position of younger artists?
I am a very positive person and a great optimist, which gives me extra motivation. It's not easy in any profession when you're at the beginning, but it's very important to achieve that recognition and to be unique in what you do, so I believe that there will be more space for the expression of creative potential.
PS We all know how important culture is for a nation!
I see diplomas as the "Shield" of my entire education
You pointed out, which is particularly interesting to me, that "you have the same talent both with and without this degree". How many degrees can be a determinant of quality nowadays?
In my opinion, the diploma is a written proof of some of our struggle for what we love and what we fight for. It is true that I stated that even with a diploma and when I was without it, I possessed and still possess talent, which is even genetically transmitted. Of course, I was building my knowledge and perfecting my techniques even before I enrolled in the "Petar Lubarda" secondary art school, which I also graduated from in Cetinje. I always wanted to know as much as possible and to be as good as possible in my calling. Later, during my studies at the art academy, even with the cooperation with my professors and their high-quality and selfless proofreading, I only became stronger, more confident in my creativity, and I can freely say that this is why I continued my master's studies. Therefore, I see my diplomas as the "Shield" of my entire education.
Bonus video:
