SELECTED ESSAYS and WRITINGS
MAYA KULENOVIC - Biography
by Anthony Collins
MAYA KULENOVIC - Painting Alternate Histories
MAYA KULENOVIC EN REMBRANDTS CLAIR-OBSCUR
by Bob van den Boogert, Conservator Museum Het Rembrandthuis, Amsterdam (Dutch)
STATE OF BEING
by Edward Lucie- Smith (from the book Maya Kulenovic, 2007) (English)
MAYA KULENOVIC: SELECTED WORKS 2005- 2012
by Karin van der Beek (Dutch)
ABOUT LIFE AND WORK by Eric Morren translated from Dutch (English)
INTRODUCTION to the book Maya Kulenovic, 2008 by Eric Morren (Dutch)
MAYA KULENOVIC AT MORREN GALLERIES by Lennard Dost (Dutch)
EXHIBITION ESSAY by A S Hamilton (English)
EXHIBITION ESSAY by Bruce W Whitehead (English and French)
EXCERPTS from other writings and essays
'Maya Kulenovic's haunting portraits, torsos, and buildings dominated the 'Early Summer Exhibition' at the high-profile Blackheath Gallery, South London, UK......Kulenovic paints raw, intense portraits of adolescents and children whose shadowy, pale faces are heavy with emotion'.
from Galeries West Magazine, Calgary, 2006.
'The strongest pieces, and the ones that haunt the audience long after leaving, are the paintings of Toronto artist Maya Kulenovic. Born in Sarajevo, Kulenovic’s paintings in WAR reflect an intimate appraisal of the visceral, grotesque nature of the body and the mind caught in the violence.
Two of her pieces, Still Life with Napalm, and Still Life with Shrapnel, examine the human body in war. An unblemished child’s body, scarred on one side by napalm burns and the vulnerable reclined pose of a woman’s torso with shrapnel scars are disturbing not for the wounds, but for the intimacy and loving attention to the physical presences. Lethargy does not look at the victim, but the murderer. It is the body in a defeat of exhaustion from killing endlessly, "a devil, sick of sin." Kulenovic’s The Great War, is a painting that recalls the new ways of maiming made possible with 20th century weapons it is of a man without a face, shown in profile. Kulenovic’s works are honest approaches to violation and injury, without wallowing in brutality.'
from The Horrors of WAR, by Hugh Graham Visual Arts, Fast Forward magazine, Calgary