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Marko Riboškić

Marko Riboškić was bornin 1994 in Belgrade. He holds a M.Arch. from the Faculty of Architecture at University of Belgrade where he graduated in the Interior Architecture Departmentin 2019. During his master's studies, Marko also has studied at Interior Design Departmentat Vietnam National University of Forestry in Hanoi, where he did research on the importance and production of traditional furniture made of wood. After a year focused on architectural practice and studies, Marko explores traditional methods ofexpression, through drawing and painting.

Marko shares his wonderment of urban life in his painting and drawing practice highly informed by his background in architecture and design.with each distillation of a everyday place into a simple abstraction, he attempts to make sense of the world by categorically manipulating geometry and form. He explores the possible ways of inhabiting space through design, making import antemphasisin painting, illustration or installation as visual expression to communicate his ideas. Currently he lives inYogyakarta, Indonesia where he was enrolled in Fine Art studies at Indonesian Art Institute, organising group exhibitions and joining local community in creating arts, exploring new medium possibilities using traditional Indonesian techniques.

Shared Monologues: Batik on Javanese cotton

In this work, the artist is showcasing the process through which he was questioning and analyzing the context that he was living in. As he found himself under the island lockdown in Indonesia when the pandemic occurred, he had the urge to communicate new ideas with the local and global community. Riboškić was part of the local Batik community, where Batik is a traditional Javanese technique of wax-resist dyeing on whole fabric. In the Javanese tradition, Batik is known as a group activity, artisans share workshops and equipment and usually, each artisan is in charge of one step in the process of making one batik piece. All the daily rituals that the artist did in the local workshop creating Batik with local artisans, suddenly he had to do alone. The name of this work Shared Monologues closely indicates what this piece describes and how it communicates. Based on the meditative repetition, this technique here is used through the interplay between stylistic constraints and one's own personal symbology, leading to the creation of an intimate diary of sorts and guidelines on how to use abstracted points of perspective to create a phenomenological exploration of one's own mental landscape.


What is the language in common for the young people today?

Experiences and ideas for change is what unites us all, what we all understand. 

What does the process of making one of your pieces look like?

When I start with a blank cloth, I follow empirically and feel where the brush will go. I often start from the accumulated feeling and experience of shape and color, balance and size, and what makes my intuition. My whole process is based on researching the physical possibilities of materials, the relationship between form and color, through experiment. The initial idea is often different from the final outcome, because new ideas, new situations, new decisions come to me during the process, which is why the relationship between the process and the outcome is most interesting to me.

Which challenges have you faced while making art as you know it?

I like to sketch, it allows me to visualize ideas and document my thoughts very quickly. The hard part is turning these ideas into reality, especially since the batik techniques and materials I use take a lot of time. What is interesting about this technique is playing with negative space and the reverse process of creating a drawing, which, in the end, represents the ‘DNA of the fabric’. Batik technique involves drawing the whole fabric with wax, then hand-dyeing the whole fabric. Wax is used as a shield of fabric, because wherever the wax-color passes, it does not pass. The challenges in this kind of creative creation are precisely in the process, in experimenting without predicting the final product, allowing myself to be curious, to make mistakes and to use traditional materials and techniques in a different way.

Do you consider yourself an artist, and what does that word mean to you?

I don't consider myself an artist, but creating art helps me in my own process, and that process then makes me part of the collective.

What is your escape from reality? Do you even have a need to escape from something?

I like to be always present.

What does the word innovative mean to you?

Being curious.

Do you have a plan for the future? Where can your artistic practice take you?

I don't like making plans. I live, create and follow the present moment.

What made the biggest influence on you to become what you are today and do what you do now?

I'm not very successful in verbal storytelling, so I tell them through the use and composition of colors and materials.

How would you describe Serbian (Balkan or European-depends on where you live and work) contemporary cultural scene?

In process.

In which way does your creative process shape you or changes you as a person, if it does at all?

I shape my process and the more I research, experiment, the more I change. I don't think it's the other way around.