Ljubica Janjetović

A Small Boat on a Lake Ohrid I
Drypoint, framed
18 x 18 cm

Ljubica Janjetović

Ljubica Janjetović, hailing from Banja Luka, Bosnia Herzegovina, presents a work of profound stillness and reflection in her piece “A Small Boat on a Lake Ohrid I”. Employing drypoint, a technique known for its capacity to render delicate yet expressive lines, Ljubica captures a scene that transcends the mere representation of landscape. The piece, unselected at the 18th International Triennial of Small Graphic Forms, finds a deeper resonance within the Salon de Refusées, which celebrates such underappreciated gems.

Ljubica Janjetović’s artwork, rooted in the tradition of printmaking, carries with it the quietude of Lake Ohrid, a body of water known for its historical and natural significance in Macedonia. In the stark contrast of black and white, the print offers viewers a meditation on tranquility, suggesting that acceptance—both in art and life—is often a serene but elusive pursuit.

Ljubica’s choice of medium is particularly evocative; drypoint etching allows for a tactile intimacy between artist and plate, where each line is a deliberate act of creation. This methodological rigor reflects in the thematic quest of her work, seeking to find and portray moments of peaceful acceptance in a world often too rushed to notice them.

The Salon de Refusées, with its ethos of revisiting the overlooked, provides a fitting stage for Ljubica Janjetović’s work. Her drypoint art embodies the philosophical contemplation of artistic value and the subjectivity inherent in its assessment. Ljubica’s work is a testament to the power of restraint and the beauty that can be found in the quieter moments of life.

“A Small Boat on a Lake Ohrid I” is a statement on the necessity of pausing, observing, and appreciating the subtle narratives that only the most observant eyes can perceive.

Participating in the Salon de Refusées at krautART ARTspace holds a special significance for me as an artist, particularly in light of my recent experience with rejection. I view exhibitions like Salon de Refusées as vital for contemporary artists. They serve as catalysts for growth, pushing us to persevere in the face of rejection and challenging us to redefine the boundaries of acceptance. Through this submission, I hope to not only give my artwork a second chance but also contribute to the dialogue on the role of exhibitions in fostering artistic diversity and authenticity.
I am motivated to participate in Salon de Refusées because I believe in the power of reevaluation and the broadening of artistic horizons. It is a platform where “A Small Boat on a Lake Ohrid I” can shine alongside other rejected works, collectively contributing to the rich tapestry of artistic expression. Crafted through the delicate technique of drypoint, this black-and-white print encapsulates a serene moment on Lake Ohrid in Macedonia, inviting viewers to immerse themselves in the quiet beauty of the scene. It is an exploration of the profound sense of peace that such landscapes evoke and the challenge of conveying that essence through artistic means. Although, this piece has already faced the crucible of rejection in a previous submission to another call for art participation, I firmly believe that Salon de Refusées offers a unique opportunity for the reevaluation of artistic creation, recognizing the subjectivity inherent in the interpretation of art. The rejection of a piece does not diminish its inherent value; rather, it calls for a platform that appreciates the diversity of artistic expression and offers a second chance for works like “A Small Boat on a Lake Ohrid I” to find their place in the broader artistic discourse.
Salon de Refusées is not just a venue; it is a sanctuary for artworks that have been sidelined, offering them the prospect of a new beginning. Thank you for providing a platform that values the resilience and diversity of artistic expression.