"I use languages of printmaking, drawing, photography and poetic text to explore questions of cultural belonging, hybridity and memory. I work on and with the paper, the substrate civilizations are recorded upon, the last bastion of tactility in our world of virtual images. The processes themselves and metaphors they offer, the physicality of paper and drawing media, the visual sources I use, all inform my work.
There is no discernible center of my images, and the floating elements come in and out of focus, alternatively anchoring and orbiting others, settling nowhere permanently. I use perspective, but not as illusionistic tool. I cultivate the space in drawing or print that is polyphonic and at times contradictory. The works are metaphorical maps of change, perishing and memory. They beg for highly individualized, poetic translation. I hope that the viewer sees them the way one sees a familiar thicket of weeds one day, in particular moment, in particular light, suddenly awash in form and meaning."
Born in Bosnia in 1966, Tanja Softić studied at the Academy of Fine Arts in Sarajevo and earned her M.F.A. in Printmaking from Old Dominion University in Norfolk, Virginia in 1992. She works across the media of printmaking, drawing, photography and book arts, and teaches at the University of Richmond. She is a recipient of the Pollock-Krasner Grant, National Endowment for the Arts/ Southern Arts Federation Visual Artist Fellowship and Soros Foundation—Open Society Institute Grant. Her work is included in collections worldwide, among them those of the New York Public Library, Library of Congress Print Department and New South Wales Gallery of Art in Sydney, Australia.
Effectively a triptych, Between presents a series of separate panels, each based in a distinct architectural or natural environment, that come together to read as a three-part narrative. Tree branches and pinecones are sidled up next to intricate radiating ironwork and chain-link fencing; foreign to one another yet related both physically and aesthetically—by way of the consistent motif of black birds and orange spots—these individual scenes exist almost as fragments of time and space, joined together by the artist’s memory and consciousness. In a 2011 interview with the artist, Sarah Sargent remarked on Softić’s ability to connect seemingly disjointed elements within her work: “these are items that seem so foreign to one another, but in Softić’s hands they achieve a kind of symmetry even as they express the “awareness of simultaneous dimensions” that is the exile’s experience.”
Studio of the Artist