Inspired by her fatherís paintings depicting seascape and mountainous vistas, habitually populated by children, contemporary landscape photographer/painter, Gloria Marojevic speaks candidly and affectionately with regards to a childhood filled with creativity. Describing canvases that towered over her typical 8-year olds diminutive stature, Marojevicís fatherís artistic temperament certainly rubbed off on her from an early age as she fondly recalls transforming a lump of concrete into something which she believed was an exotic desert island simply by repeatedly grinding a collection of green foliage and brightly coloured petals over the non-descript grey mass until it sprung to life.
With secondary school behind her, Marojevic did what many students between courses do as rites of passage and have done since the year dot, stuffed a backpack full of clothes, sorted out their passport and set off for warmer, culturally-expansive climes. At 18 Marojevic explored all that Turkey and the Greek Islands offered, which as anyone whoís been there knows, means an awful lot of gorgeous sea blending into equally gorgeous skies. Marojevic was held captive to the infinite array and permanently transient of colours, shapes and scenes that met her, waxing lyrical about pinks, reds, blues, orange and purple skies and seas, and all shades of blue and green waters, which clearly took her breath away and piqued her creative interest for the greater good.
Despite the further artistic awakening that Marojevic experienced on her travels, on her return to the UK she settled into a structured, corporate world of work, taking up a post in sales and marketing in London, whilst putting down her own roots in Surrey; a daily grind which she applied herself to for the following 12 years. But then one (wo)manís meat is another (wo)manís poison so they say, and Marojevic revelled in successive roles, adopting an invigorating lifestyle and throwing herself wholeheartedly into the London scene; never more so than during the height of her years spent in the moving and shaking British film industry. This was partly because Marojevic considered herself quite the people person, and an environment such as the one she found herself in the hub of provided the fortuitous junctures in which to interact and network with all and sundry of the like-minded variety.
One creative calling came hot on the (Laboutin) heels of another for Marojevic, as whilst employed in the fast and furiously paced film industry, she also enrolled on an evening course in Interior Design at a London college, where her passion for intense colours (first realised when circumnavigating Europe) was reignited. Add into this heady, creatively-inspired mix a new-found husband who himself was an architect and avid photographer, and Marojevic went from strength to strength. And of course, it didnít take long before she started playing around with her husbandís camera and discovered a love for the lens herself. 1991 to be exact. This love developed and evolved rapidly and to date Marojevic has seen north of 400 of her photographic designs commission and published by various greetings card companies.
While the photographic work remains to this day something Marojevic does for pleasure, her painting was the aspect which came to the fore, both personally and commercially thereafter. Drawn from her love for the abstract form of shape and colour blocks and progressive bleed offs of intoxicating hues and saturations, this ultimately took her in the direction of applying her paintings to a glass surface, which provides a greater source of fluidity and translucent quality to her already enigmatic colour swatches and emboldened compositions. Marojevic still relies on the magic of the sea, sky and natural landscapes to supply her with a constant stream of artistic motivation, and the way in which the sun toys and plays with these elements and contextual surrounds.
In terms of Marojevicís photographic work, sheís particular proud of her close-ups of Agate stone slices, and the free-flowing colour, substance, reflection and light that populates both the surface area and total density of the materials; so much so that this seismic flow of abstract design led her to the concept and thought process instrumental to the administering of her conventional mediums onto glass. As of 2001, her creativity and industry was recognised (and ultimately rewarded) by a number of fine art publishers, however Marojevic opted to go with one of the UKís leading art publishing houses, Washington Green, who sheís successfully collaborated with ever since on the subject of both her photographic work and her unique glass paintings.
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Edition Copies: 395
WxH: 559mm x 203mm