Mia Cuk photography portfolio by Ivana Radmanovac

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Design I made for my friend Mia Cuk


  • Do Not Go Gently Into That Good NightLittle Parisian DiaryHigh OdiumFragile SoulsOld SchoolParallelsCamera ObscuraWho Is Mia?

  • Do not go gently into that good night represents the verse of the American poet Dylan Thomas, which I borrowed for a name of my project. The work consists of a pair of photographs, an actual portrait of a person, and a portrait of his or her sleeping place which has kept the shape and warmth of ones sleep. In this way I tried to find

    similarities between the person and the way he or she behaves in an unconscious state of sleep. I portrayed my subjects a short time after awakening or just before bedtime, so the somnolence can be read on their faces or their gestures. These pieces of work had emerged in the period when I suffered from insomnia, and showcased a kind of a therapy

  • and a way to overcome my problem. At that time I often wondered about the concept of sleep and what it means to different kinds of people - to some a bed is a place of rest and peace, tranquility, something like a warm den or a safe boat. To others it is a battlefield, a place filled with discomfort or uncertainty and fear.

  • Little Parisian diary

    When thinking of the most challenging city to throw a young artist with a camera (and confuse him/her completely!) the city of Light would be my weakness.

    Arranging visual impressions from a city like Paris is as almost difficult as coming back to reality from it. The form of collage perfectly cor-responds to a psychological state I found myself in- pieces of colors, smells, clips of facades, chic designs, colorful leftovers, marzipan crumbs in my pocket, scrawled notes with the names of wines, streets, museums But how to present all this in a form which is coherent but without losing the vital diversity of impressions and material artifacts? I came up with the idea of scanning all these small memories from which it was so hard to part and in that way preserve even the tiniest souvenir.

    This work is dedicated to Remarques Paris, the first Paris I fell in love with.

  • At boulevard Belleville

  • Maja, Pre Lachaise cemetery

  • Mathias

  • Metrosophy

  • High Odium represents a series of photographs done in the 50s style as a visual documentation for a performance called High Odium- ready to kill by May Creative House. The plot takes place in a large house where the characters just seem-ingly live in harmony - behind their stylishness and polite manners lays an obscure nature of fatal lust

    and obsession with one person. In the presented portraits I tried to depict subtle dualism of their characters.In collaboration with May Creative House.

  • The form of diptych satisfies the eye of an ob-server who likes to hear stories. The two pho-tographs that are related by their close position in the frame, leave just enough space between them , for an observer to fill it in with his or her assumption. That assumption could be a verse, someones laughter in the back, or subdued music

    from a player of a person beside you. It is of great importance what will be the filling between the photographs, because that is the missing puzzle of the story. I cannot influence the way you think or change your piece of the story. What I can do is to suggest it, indicate it, maybe even lead you to a false trail with the authors bias or subjectivity.

  • But dont let me fool you. These stories are not just mine. (And every time, this thought hit me: It wasnt a record she was handling. It was a fragile soul inside a glass bottle.)

  • Old SchoolThis project deals with the problem of ageism as a dominant issue in the West European culture of today. The problem refers to discrimination of people based on their age, primarily discrimina-tion of old persons. The project is divided in two stages- The collection of visual and textual data,

    and transferring these to young designers as an inspiration for visual solutions (posters, illustra-tions, fanzines etc.) The process included visits to nursing homes where we contacted elderly people, and in the form of conversation, interview, photography or short story documented facts from their lives.

  • As a photographer, I tried to approach this project sincerely and heart-to-heart, since the subjects stories were not always that easy listening and cheerful. In the given circumstances I did series of portraits of people from the nursing homes, feel-ing that, in some way, I am reliving their experi-ence. I noticed a specific glow in their eyes, lighted

    with the stories of the past, family tales, love adventures from the youth, and probably the fact that there is someone eager to listen.

  • Mrkovaki Ljuba, 82 years old

  • Parallels are a piece of work which is always in progress. Looking for corresponding shapes in nature became more than a habit, an urge, maybe even my creative obsession. Sometimes its not just the shape, visual form, but a certain atmo-sphere of a scene for which I find a matching im-age. The chemistry between images in some cases

    occurs immediately, the other time It takes longer for them to connect.

  • The work made with a pinehole camera or camera obscura gives the usual, quo-tidiane object or scene a certain touch of mistery, wrapping it often in a vesture of a crime. An empty city square interrupted with just one lonely ray of light, or some-ones shadow suggesting a trace of life, but not revealing it in full. Working in this simple technique, without the redundant interference of an advanced technology made my search for the exact emotion concise- It was the feeling of solitude. Whether it was the Mediterranean oak tree standing alone in a square on the is-land of Rab, or a human figure seemingly preoccupied with some action, the sense of abandonment convincingly spreads over the images. The magic box of camera obscura becomes a tool for creating visual poetry, invoking De Chiricos metaphysical atmosphere of dream-like cities, in which you can hear echoing verses of Borges.

  • Mia uk

    Born in Novi Sad, Serbia, 1988+381 64 587 41 10Address: ora Magaraevia 4, 21 000 Novi Sad, SerbiaMiacuk.art@gmail.com


    2007-2011 BA Photography/ Department of Fine Arts/ Academy of Arts, University of Novi Sad, Serbia


    2008 Underwater photography, island of Mali Loshinj, Croatia 2009 Camera Obscura workshop, Balatonalmdi, Hungary2009 Guitar Art festival, Novi Sad, Serbia2010 Theatre play Three little pigs Emilija Mrdakovi, Youth Theatre, Novi Sad2010 Theatre play Love life of Woody Allen, Branko Dimitrijevi, Serbian National Theatre, Novi Sad2011 Old-school project, CK13, Novi Sad, Serbia


    2008 Museum Night, Museum of Contemporary Art, Novi Sad2008 Selected photographs from the underwater photography workshop, City Hall of Kastav, Croatia2009 Book through photographyExhibition of photographs inspired by the books of Geopoetika publishing house, Belgrade 2009 Balatonalmdi camera obscura works, UPIDIV gallery, Novi Sad2009 II World biennial exhibition of student photography, Commercial & Sports centre, Novi Sad2011 Exhibition of Fine Arts department of the Academy of Arts, Gallery Macut Novi Sad 2011 The beginning of impossible theatre photography, Serbian National Theatre, Novi Sad2011Exhibition of small drawings, gallery Rajko Mamuzic, Novi Sad2011 The graduate Exhibition of Fine Arts department of Academy of Arts, Gallery of Matica Srpska, Novi Sad


    Annual Fine Arts Department Award for the best photography project in the school year 2010/2011.


    Languages I speak: Serbian, English, ItalianKnowledge of: analog and digital technologies, Adobe Photoshop, Illustrator, In Design, Windows operating system. A strong theoretical background in the history of photography and art history. Experience in teaching.

    Other recognitions: Certamen Ciceronianum Arpinas, Arpino, Italy 2006Affinities : Literature, Film, Art History, Theater, Fashion, Jazz music, British humor, Dogs, Umbrellas, White Chocolate, Antique shops, Bookshelves, Museums, Optimism, Trains, Plains, Bicycles, Movement.

  • FINE