The printing process of printmaking, as well as the nuances that develop from the inner possibilities of the various means of expression are essential to the art of Sirje Eelma. Muted colouring brings forth the work’s inner luminosity and contrasts between various textures. References to recognizable motifs are intertwined with an elegant language of form. The secretiveness of the works’ technical multiple layers creates playful spatial associations and holds together a positive attitude.
Jarõna Ilo was born in Kiev in 1955 and received her art education at the local Industrial Printmaking Technical School, Prague Film Academy and the Estonian Academy of Arts (graduated in 1981). She has been a member of the Estonian Artists’ Association since 1988. She has taught drawing at EKA (Estonian Academy of Arts), the Old Town Educational College, the Euroacademy in Tallinn and at the Australian National University in Canberra. She has illustrated numerous books. From 1991–1997 she helped create children’s programs for ETV. She is currently working as a freelance artist and gardener / landscaper. She is undoubtedly one of the most proficient illustrators on the Estonian art scene; a drawing virtuoso.
Most of my works are original drawings, which are digitally mastered for printing. I am after all an ex-graphic designer and worked for a long time as a book designer.
Every day I record my thoughts, impressions, etc. in my sketch pad. Drawing images or characters, any means of expression always offers a surprise – white paper inspires me!
I draw if I’m happy or sad or have experienced a new life lesson. Sometimes I title the page: “My day off tomorrow,” “My future manager,” and so on and then forecast what is upcoming for me.
Since love and respect for fellow human beings and the entire universe are my truths, then my works most likely reflect this as well.
During the summer I work in the monotype printmaking technique via painting. I enjoy it very much. I’ve also done work in intaglio techniques.
I have placed my works in series’ or have them arranged by technical method on my website.
My website address is http://www.karolin.ee
Kaija Kesa’s primary means of expression in art is printmaking, yet drawing is also essential to her. In addition to printmaking, she has also created videos and been involved with process-based “activity art”.
One of the recurring themes throughout her art is that of creating a garden and other topics associated with plants. She interprets gardens as a earthly, tactile medium, through which a better quality of life can be achieved and with the help of which a person can find themselves. Since 2003 she has organized wish garden projects in various locations. The idea behind this is that people can plant wishes along with the seeds they sow, thereby concentrating on the positive and working on making their wishes come true.
Naima Neidre has also described her creative process as continuous activity that is led by hand: “It is like a journey to unknown depths – exciting as well as dangerous”. Although it is impossible to differentiate the beginning and end within the artist’s maze of lines, since she doesn’t produce initial works or sketches and doesn’t think the composition through before proceeding. Nevertheless it is important for her to stop working at the right time and to control what her hand is doing. Neidre’s unusual compositions can thereby be viewed as a controlled subconscious and the artist herself as a immediate, even automatic participant in the process, as well as someone watching herself (and the process) from alongside.
Upon close inspection of Naima Neidre’s drawings, you can see the bizarre structures of the network itself – information nodules, which tenaciously hide what is behind the network, what is hidden. The opposite effect is true when looking at the works from afar: the viewer sees what is beyond the network, the illusion of reality. The artist has given the person receiving the information free reign in terms of interpreting the illusion of reality: regardless of who sees an underwater world, or mountains, or the approach of a storm, or a wide open sky. In fact something that is hidden within the viewer themselves and is looking for a way out.
Printmaking is a passion which I have carried along within for quite a long time. A passion which motivates, encourages and pulls. Printmaking is the medium through which I have been able to most successfully express my thoughts and opinions. Until now my work has dealt with the various facets of self-analysis: familial themes, pedantism and the matching up of various associations.
… He became acquainted with silkscreening in Leipig, where he spent time as an exchange student. Paul’s interest in contemporary society and it’s problems, a subject he has most consistently broached in his silkscreens, got its start through experiencing various world views and meeting all kinds of people. Paul is associated with the wave of new realism which came to the forefront in the 1970s, yet he cannot be considered a Hyperrealist: his silkscreen prints are photo-like, but not pure Photo Realism. The artist used a photo, but not a photo stencil, he painted directly onto the print screen, stylised and synthesiZed elements of both Hyper Realism and Pop Art, all the while remaining within the boundaries of good taste and maintaining his point of view and attitude towards the object being portrayed. In addition to social and political themes, an important part of Paul’s printmaking involves the portrayal of nature: including reflections on a hike to Sakhalin island and a series of ink drawings and silkscreen prints of Saaremaa landscapes, where Estonia’s pristine nature has been handled epically and monumentally. Free of excess details, these landscapes are symbolic of nature in a broader sense.
From Elnara Taidre’s text accompanying the KUMU exhibition of 2010 “Children and flowers, people and nature: Malle Leis’ and Illimar Paul’s silkscreen prints from the 1970s and 1980s”
Lembe Ruben (born in 1974) lives and works in Tallinn. She graduated from the Estonian Academy of Arts graphic arts department. She then earned a Masters of Arts degree in fine arts.
Her preferred modes of expression are graphic art and drawing. Her grotesque figures are mostly rendered with minimalist lines. In graphic art she expresses herself via hands-on techniques: relief print, copper etching and dry-point.
Ruben has participated in exhibitions in Estonia, Denmark, Germany, Japan, Finland, Sweden, Russia, Czech, Latvia and Lithuania. She obtained the Wiiralt young artist prize in 2011. Her works can be found in the national art museums of Estonia and Denmark.
She has taught graphic arts, drawing and composition at the Estonian Academy of Arts and instrtaucted various hobby groups, designed and illustrated books and magazines, dabbled in animation and stage decoration.
There are pictures that I cannot escape. These are my real pictures; pictures that have come to me. I can not refuse to commit them to paper. I just hold the pencil and my hand starts moving. And then, after having discovered the name of the picture, I sign it. Is it right to call it mine, when it has come to me by itself? At those moments, I have an inkling of why I exist…
I make pictures for people who recognize them and intimate me about it.
Born in 1982, he has studied graphic design at the Estonian Academy of Art’s Open Academy and printmaking at the Estonian Academy of Art (EKA).
His first personal exhibition was in Moscow in 1996. Other personal exhibitions have been held at Emperor Peter I’s House Museum in Kadrioru Park in 2003 , at the Midtown Social Centre in 2006, Pirita Social Centre in 2007 and the Kapelica Gallery in Ljubljana in 2011. Has taken part in many group exhibitions and competitions.
Creates electronic music, does creative writing in Russian. (www.artestonia.info)
Her works examine different moods and feelings, femininity and memories.
Her first exhibitions consisted mostly of letterprint works. In these linocut works several layers of half-transparent colours can be printed, making the print look more colorful and translucent. In the last few years she has been using mostly digital print on a half-transparent canvas combined with drawing or painting.
Evi Tihemets Viires
“Evi Tihemets is one of Estonia’s most outstanding printmaking artists, whose distinguished creative achievements go back a half century. As an independent printmaker and book artist, she has influenced the development of Estonian printmaking during all of the post-war decades of Modernism, both with her monumental, clear form, as well as her delicate lyrical imagery. [- – -] On drypoint and etching prints you can enjoy painterly variations of tone and printing effects achieved through multiple re-printing, yet first and foremost you get a feel for the artist’s genuine experience on the lava fields of Iceland. Evi Tihemets visited Iceland in the late fall of 2007 and since then she has been greatly motivated by the energies of that northerly volcanic island.
The clear, monumental forms which characteriooe Evi Tihemets’ work are attaining a new kind of essential symbolic meaning in the printmaking which is inspired by the Icelandic rocks. She has achieved very contemporary, compelling results by sensitively and skillfully implementing classic printmaking possibilities.” (An excerpt from a piece written by curator and art historian Juta Kivimäe on the occasion of Evi Tihemets’ anniversary exhibition at Vabaduse gallery in February of 2009.)
The art of the very prolific and beloved Estonian artist Vive Tolli. She was born on July 28, 1928,
studied at the Estonian State Art Institute and was a professor at that same university. She has had personal exhibitions in Estonia, Russia, Finland, Latvia, Sweden, Canada, France, Germany and Denmark. Vive Tolli’s works are exhibited in the Museum of A. Pushkin and Tretyakoff Gallery in Moscow, Portland Museum in the USA, Dr. Ludwig Museum in Cologne, Germany, etc.
“The Songs of Theodorakis”, 1970.
“Feast of the Immaculate Conception”, 1977.
“Nautical Hobgoblin”, 1982.
“Cloister Fragment”, 2002.
“A Slightly Leaning Bell Tower”, 2002.
“Blue Door”, 2005.
“Wrong Doors”, 2004.
“Comforting Words”, 2007.
“Three (4) Boomerangs”, 1997.
“Sacred Tree in the Shade of a Hill”, 1988.
Marje Üksine started out making drypoint engravings, where the figures are formed from parallel lines. Characteristics of her work are both a precise rendering of the image and a romantic line full of feeling. She has been practicing colour lithography since 1985, her manner of rendition has become more generalized and decorative, architectural visions have been added. Intaglio continues to be her favourite medium.
The work of Kelli Valk-Kagovere can be viewed as an epic study or story that has continued to develop over the years. Monumental cosmogonic fantasies continue to ask the triad of questions, which have excited humankind just as long as people have managed to understand the uniqueness and fragility of human awareness in our large, cyclically changing world. Where are we coming from, who are we, were are we going?
The artist projects recollections of her own trips, important people, those close to her, who have already passed on and places, which carry special meaning and power onto a broad humane, universal surface. The pages are loaded with the feeling of being on a journey, a mental journey to an important destination, which could be called a person’s home.
(Juta Kivimäe’s text on the occasion of Kelli Valk-Kagovere’s personal exhibition “Half-way Home” at the Vabaduse galerii September 16, 2010.)
Mare Vint lives and works in Tallinn.
She has worked as an art teacher from 1967 to 1969. Since 1969 she has been a freelance artist.
Her works in the 1960s consisted mostly of drawings (ink or mixed media). Starting in the early 1970s, lithography and drawings existed hand in hand.
In the 1960s her works were mostly abstract, however in the 1970s, more concrete elements began finding their way in – landscapes, parks, birds, women. And details from nature.
In the 1970s and 1980s coloured pencil drawings begin to dominate – landscapes, park landscapes and architectural landscapes.
The 1990s brought along works, which united lithography and coloured pencil.
From 1992 large-scale coloured pencil drawings on canvas become characteristic, with subjects from architecture and nature.
In 2003 she completes her first silkscreens and in 2010, her first offset lithography. In 2009, larger black and white ink drawings on canvas are created, with the theme of a park. This series continues to be developed today. All of the techniques that the artist been tried, exist side by side today as well.