We're in Samizdat Podcast with Olga Ilieș, former Academy of Music, Theatre and Fine Arts of Moldova lecturer and visual artist.
- This episode was supposed to appear in the summer of 2022. But, because of some circumstances, it is seeing the daylight in the spring of 2023.
Eva Mocanu in conversation with Olga Ilieș:
How do you usually introduce yourself?
As of this year (2022), I am proud to say that I have transitioned from my previous role as an AMTAP (Academy of Music, Theatre & Fine Arts) lecturer to pursuing my passion for graphic design. While I wouldn’t claim to be a 100% dedicated graphic artist, I consider myself a visual artist. To me, graphic art involves a certain way of thinking that requires an understanding of various art forms, and I believe that many artists today embrace this broader perspective as a sign of maturity in their craft. Therefore, I see myself as part of the community of visual artists who seek to push the boundaries of creativity and expression.
And what is it like working as a lecturer at AMTAP?
I would like to share my personal experience and perspective, which started when I was invited to join the Applied Arts Department at AMTAP in 2011. I had already gained a year of experience in the Printmaking Department as both a student and a master’s student. This invitation came with a great deal of freedom, and it has been an incredibly productive and transformative few years for me.
The department’s open-minded approach allowed for a diverse range of techniques to be practiced, many of which were new to me. From op art and string art to handmade paper and installations, art prints, knot prints, textile painting, screen printing and blind printing, we covered an array of skills. These skills not only contribute to the Applied Arts department but are also essential to graphic design. Combining string art with blind printing, for example, provided greater detail in our work. We also used techniques like outline on canvas, which required practical work with a more extensive unfolding, making the experience all the more valuable.
In my opinion, the four years of college are crucial for building a strong portfolio that gives you a head start in your career. However, since Erasmus is still in its early stages in our country, I believe pursuing a Master’s degree in another country would be beneficial. It would provide an opportunity to develop critical thinking skills that will be useful throughout your career. Although I have worked intensively with students in workshops over the years, I believe that having a well-formed skill set is essential to succeed.
Could you clarify your definition of graphics? Are there various subdivisions of the field similar to what we observe in neighbouring countries?
The Republic of Moldova, being a smaller country in terms of population compared to Romania, faces challenges in achieving diversity within its departments. Unlike Romania, we do not have art higher education institutions in every city, which limits our opportunities to offer a wide range of directions within a department. Higher education in our country is a luxury, confined to Chisinau, where we provide a foundation in easel graphics, book illustration, and limited exposure to digital graphics. Our current programme is already extensive, leaving us little room to apply techniques effectively in the allotted time frame of 3 and a half years. Easel graphics, particularly printmaking, are not commonly accessible outside of higher education institutions. This genre of art is exclusive to educational settings and is crucial to our curriculum.
Why is that so?
To begin with, there exist outdated techniques that date back to the 15th, 16th, and 17th centuries — a time prior to the industrial revolution. While these techniques are no longer in use, they hold great value in fostering a distinct thought process and are thus preserved within institutions as a form of personal therapy. From a purely technical perspective, employing these techniques requires the use of an expensive press, such as the German press that costs a staggering 6000 euros and is designed for plates of size 50cm x 1m. Presses, in general, come in various types, such as for relief printing, but we mainly use the ones for intaglio, which unfortunately limit students in terms of size, thickness, and material, thereby presenting a significant challenge. As a country, we find ourselves making compromises in such situations.
*Intaglio printing is the opposite of relief printing, in that the printing is done from ink that is below the surface of the plate versus the printing from a raised surface where the non-image areas have been cut away. The design is cut, scratched, or etched into the printing surface or plate, which can be copper, zinc, aluminum, magnesium, plastics, or even coated paper.
Are you suggesting that as an autonomous artist, I am unable to procure a printing press in Moldova due to financial constraints?
There are alternative ways to acquire printing machines, such as purchasing them from established artists who are selling their equipment due to financial reasons. Alternatively, if you have a substantial amount of money at your disposal, comparable to the cost of a car, you may consider importing a press from Romania. There, you can find presses from Germany available for purchase at around 500 euros, with a size of approximately A3 format.
Upon returning to Moldova, I searched extensively for public press spaces but to no avail. As a result, I resorted to makeshift printing methods in the comfort of my own home, using a spoon to achieve high-quality prints. This experience prompted me to ponder: where do aspiring graphic designers turn to for professional printing services?
I’ve been advocating for a space with a master for individuals like you since 2010, as a member of the Union of Artists. This space is located on the Dokuceaev Street and has strict requirements. To use the space, you must be a trainee or full member of UAP (Artists’ Union of Moldova) and submit an application to the office where the presses are located. Additionally, we have a lithography press, which is unavailable at any art institution. To broaden access, we proposed an operational formula where individuals with training and experience in press operation could submit an application, pay an annual UAP fee, and receive a budget to develop graphic projects. Despite our efforts, nothing has come to fruition. It’s time for the younger generation to take action and push for change, but it’s challenging as the commercial trend clashes with traditional graphic design techniques in the local context. This has led many to switch to digital methods, leaving them with a difficult decision: prioritize artistic integrity or financial stability.
Which career paths do graduates of graphics faculty pursue in Moldova?Enrolment is currently following the traditional model, which lacks open days for institutions to showcase what they offer. Without the opportunity for prospective students to see firsthand what an artistic workshop entails or to witness presentations by teachers highlighting their areas of expertise, many questions remain unanswered. These questions center around what professions to pursue, what paths to take, and where to go next. By offering a more comprehensive and informative approach, students would be able to make informed choices and have a clearer sense of direction after completing their 4-year program. This, in turn, could help to attract new students and revitalize the program. However, financial constraints loom over the institution like a dark cloud, creating obstacles that the state has yet to address. The low salaries of those involved in the artistic segment only exacerbate the problem. Unfortunately, we are not taught to be proactive in addressing these challenges, and each person feels powerless to make meaningful change.
Where do students go after graduation?
I became a lecturer myself and some of my colleagues pursued careers in printing industry after studying typesetting, while others have found work as book illustrators for local publishers. However, I’ve encountered a problem with the quality of book illustrations in my country, Moldova. We don’t have a specific study program for book illustration, which has resulted in a generally low standard of illustrations.
Over the past 12 years, I have focused heavily on developing abstract imagination in my students. I believe that for an artist, it’s crucial to be able to construct entire worlds within their minds rather than relying purely on technical processes. As an educator, I always ask for thorough argumentation from my students to ensure they possess cognitive thinking and a clear understanding of their work. I particularly enjoy exploring semiotics and symbols, and I challenge my students to explain how a viewer would interpret their work in just 10 seconds. This helps me gauge their thought process and understanding.
Our audience is not just interested in technical execution; they also seek meaning and depth in the art they view. There’s a subset of viewers who are particularly discerning due to their extensive consumption of culture and high expectations. When I attend exhibitions, I seek intellectual nourishment and get disheartened when I see poorly executed or poorly thought-out displays. I yearn for intellectual discussion and analysis.
It’s dispiriting to visit anniversary exhibitions and see lifeless displays that look like they were hastily put together. In contrast, some artists feel compelled to show every piece they’ve ever created, resulting in an overwhelming and disjointed exhibition. Unfortunately, we lack individuals with the expertise to curate exhibitions effectively. We need institutions to nurture such professionals, but they’re currently nonexistent. We need theoretical and practical exhibition curators who understand how to effectively present ideas and craft persuasive arguments. This is a critical aspect that our art community is sorely lacking.
Do we not even have a curatorial faculty in Moldova?
No, we only have an art criticism faculty at AMTAP.
What makes international printmaking so exceptional? What are the key elements we can undoubtedly adopt from their techniques?
We have a great opportunity to dominate the printmaking fairs, which unfortunately do not currently exist in our area. While some former students, like Dorin Nebunu, have attempted to organize art events, these fairs have a unique direction and purpose. It’s a shame they’re not here with us, but they easily could be in AMTAP’s backyard.
For an established artist, 100 mdl (or 5 euros) may not mean much, but for an artist in training, it could make all the difference in purchasing paper and developing essential skills. Even offering affordable prices, such as 5 or 10 euros, could introduce the public to high-quality art that surpasses what is currently available.
Is there a possibility of focusing on education around conscious consumption in this area? Additionally, is there a micro-community dedicated to this cause?
Yes, there is. Perhaps our slower pace and reluctance to embrace new ideas could be attributed to our national identity.
When considering the employment prospects for students of Applied Arts, I provided them with the freedom to explore various options and introduced them to the techniques of screen printing through our workshops. As a result, two students from our program have secured positions in screen printing workshops that produce our matrices. These individuals possess a diverse skill set, a strong work ethic, and a high level of responsibility. The beauty of screen printing is that it is a universal language — the same procedures apply regardless of whether one learns them in Romania or here in the Republic of Moldova. This specialty is both financially rewarding, particularly abroad, and offers ample opportunities for growth and development.
Olga, what is the future of graphics in Moldova?
This is quite a complex question as my identification with graphics has evolved over time. While I used to exclusively identify as a visual artist, I now lean towards the idea that the community should consist of more visual artists. For the past 12 years, I’ve been dedicated to training visual artists, but have only been able to work with a small group of 4 or 5 individuals. Unfortunately, this approach does not reach working-class individuals who often work in factories. My goal is to inspire people to think critically, ask difficult questions, and take action to effect change in their communities. So, my overarching question is: what progress are we making towards this goal?
Looks like the future would be to educate visual artists not just graphic artists, right?
Painters, sculptors… these are already… I don’t want to put them in the class of crafts, but they are in the class of fields that are in the formation of the visual artist.
