Ngā Uiuinga me Maja Kirovska

I got my BA degree from the Faculty of Fine Arts at Ss. Cyril and Methodius University in Skopje, Macedonia, in 2007, majoring in Graphic Art with Graphic Design and Fashion Design, and receiving recognition as the top graphic art student. Following that, I completed a master's degree in Painting in 2011 from the same university. I've also pursued postgraduate studies in Film and TV Camera at the University of Audio-visual Arts – European Film and Theatre Academy ESRA, Skopje. Since 2013 till 2918, I've had the privilege of serving as an Assistant Professor at the Faculty of Art and Design at the European University – Republic of Macedonia, where I teach courses in Graphic Design Principles, Photography, and Multimedia. This journey has enriched my perspective and allowed me to integrate diverse artistic influences into both my teaching and creative practice.

My motivation to design stems from a lifelong passion for artistic expression and a fascination with the intersection of creativity and practicality. Growing up immersed in art, I was drawn to the power of visual communication and the ability to evoke emotions and provoke thoughts through design. Becoming a designer was a natural progression, driven by a desire to channel my creativity into meaningful and impactful visual experiences.

It was a lifelong passion, and at a point in my life as a teenager I gave the opportunity to explore other spheres and professions that I might like more, and I choose to go tо go to Gymnasium as high school that gives you wide knoledge prepares you for any type of higher education. Anyway, after finishing I chose to study Art and design. I graduated with my BA degree majoring in Graphic Art with Graphic Design and Fashion Design, and then MA in Painting.

Becoming a designer was not a choice I made lightly, it has been a lifelong passion that has driven me to constantly upgrade my skills and knowledge in the world of art and design. As a teenager, I had the opportunity to explore various paths and contemplate other career options. Despite considering different paths, my heart always gravitated towards the world of creativity and design. After completing my Gymnasium education, where I acquired a broad knowledge base that prepared me for any field of higher education, decided firmly to pursue my passion for art and design. I followed this path obtaining my Bachelor's degree in Graphic Art with additional specializations in Graphic Design and Fashion Design. I furthered my education by completing a Master's degree in Painting. This journey of academic and artistic development has equipped me with the necessary skills and knowledge for development as artist and designer throughout my career.

To become a design legend, young designers should work with dedication, continually master their skills, and broaden their knowledge. Staying updated with new trends and using contemporary tools like social media to showcase their work to a wider audience can be very helpful. Additionally, maintaining neat documentation of their work and presenting it professionally online can increase their impact. By combining hard work, skill development, and effective self-promotion, young designers can make a significant impact in the field.

A great designer is a person with extraordinary skills and talent who can combine elements in a unique way, anticipating impactful results. They go beyond mastering the basics by understanding the emotional and psychological impact of design, pushing creative boundaries, and consistently delivering memorable solutions.

A really good design makes an impact and communicates its message at first glance. Upon closer inspection, it reveals itself to be functional, innovative, clear, and consistent. It has the ability to capture attention immediately, convey its message effectively, and maintain functionality while showcasing creativity and coherence in every detail.

Good design shapes our environment and our world, creating better conditions for everyone. Investing in good design is crucial because it not only enhances the aesthetic appeal but also improves functionality and user experience. For entities like companies, a well-crafted visual identity can significantly influence how they are perceived by the world, impacting their work and success.

If I had the time, I would prioritize designing art installations for my personal exhibitions, as I am primarily an artist and then a designer. Currently, my focus is mainly on art installations, which allow me to express my creativity and deeply connect with audiences. I enjoy experimenting with new materials and media, combining them to explore innovative approaches.

I prefer not to discuss projects I haven't yet had the opportunity to realize. In the creative industry it's important to nurture and protect innovative ideas until they can be fully developed and implemented.

It is rooted in my innate curiosity and eagerness to learn. I thrive on exploring eclectic approaches, fearlessly combining elements in unexpected ways that defy conventional expectations. This openness to experimentation allows me to create designs that are innovative and captivating.

Many contemporary masters and masters from art history have left a profound imprint in my mind, like a richly detailed book that consciously or unconsciously guides my designs. I deeply admire I deeply admire Constantin Brâncuşi, Michelangelo, Max Ernst, and Toulouse-Lautrec.

I particularly admire Brâncuşi's artworks such as "Beginning of the World" and "Bird in Space". These sculptures are genius and timeless, capturing the essence of their concepts in beautifully simple forms. What fascinates me most is how their ideas are conveyed with such clarity, effortlessly transcending language to resonate directly with the mind.

I guess there was no alternative, as I have always ben drawn to art and design. it’s hard to imagine pursuing another path. However, if circumstances had prevented me from becoming a designer, I might have chosen to explore programming or even pursued a career in science. The analytical challenges and problem-solving aspects of scientific research would have been a fascinating alternative.

Design is instrumental in cultivating a better society by profoundly shaping our environment and daily experiences. It enhances aesthetic appeal, improves functionality, and enriches user interactions, thereby elevating quality of life. Beyond aesthetics, good design fosters sustainability by promoting environmentally conscious solutions. Socially engaged design goes further, addressing critical societal challenges and driving positive change within communities. By integrating creativity with empathy and innovation, designers play a pivotal role in creating spaces, products, and systems that not only meet practical needs but also contribute to a more inclusive and resilient society.

Designers play a crucial role in shaping trends. They create diverse paths of innovation and expression, and what resonates with the majority often evolves into a trend. Great designers, with their unique perspectives and groundbreaking ideas, have the ability to influence and set these trends

Color plays a important role in both my artworks and personal style. I enjoy using a full spectrum of hues in my artworks, and dressing in vivid colors. My work is often described as vibrant and lively because of this colorful palette. During my travels, I've been deeply inspired by small towns with old architecture, great restaurants, and a serene atmosphere. Places like Ponte de Lima in Portugal and Afitos in Greece have left a lasting impact on me, evoking a sense of relaxation. Ponte de Lima is a place I would like to visit again, while I visit Afitos almost every year. Exploring different cuisines is another passion of mine; I particularly enjoy the diverse flavors and spices found in Asian food.

From a young age, my deep affection for drawing was quite apparent. I could sit and draw for hours, content with just paper and pen, being entertained without any toys. This early passion was recognized early on by my parents and grandparents provided unwavering support and it was noticed and nurtured by my teachers in kindergarten and later in school. Their support helped guide me towards an education in the arts.

From a young age, I showed a deep affection for drawing. I could sit and draw for hours, content with just paper and pen. This affinity was recognized early on by my teachers in kindergarten and later in school, and it was encouraged by my parents and grandparents. Their support helped guide me towards an education in the arts. Over time, my career evolved to include design work, complementing my artistic endeavors.

I work as both an artist and designer under my personal name, Maja Kirovska, or through my design studio, Hybrideas. As an artist, I am engaged in exploring the dynamic intersection of digital and analog forms. My work frequently combines these mediums, resulting in unique and experimental pieces that challenge conventional boundaries. Through my art, I strive to create a dialogue between tradition and innovation, reflecting my passion for pushing the limits of creative expression. As a designer, I primarily work in the fields of graphic design and video production.

Design is a means to give the world a better shape, facilitate life, spread good ideas, and communicate with the world both directly and subconsciously.

In my art I like the freedom to experiment with wide range of media. I like the challenge of the unknown, the experiment and surprise of the result.

If I have to choose one of my artworks/designs I would like to mention the art installation “Luck”. It is an artwork created in 2014 which was shown at exhibitions in Skopje, Zagreb and Ponte de Lima in Portugal. It consists of 7 photos and 13 objects - opened book about nature where 13 four leaf clovers are placed and 1 video. The photos look like a kind of manual of making false four-leaf clover in 7 steps. Inspired by the todays popular quick manuals for instant solutions I few steps it talks about our belief in false values. It is Inspired by the todays popular quick manuals for instant solutions I few steps. It talks about our belief in false values.

My initial designs stemmed from the necessity to promote my own art exhibitions. Over time, I expanded into creating comprehensive promotional campaigns for fellow artists, encompassing everything from posters, street billboards, and radio advertisements to social media announcements, catalogues, and invitations.

I enjoy experimenting with various materials and media, and I wouldn't say combined media is my favorite. Recently, I've found myself most comfortable working in digital media—a vast field where there's always something new to learn. With new tools emerging each year, I find them continually useful for my creative process.

Art can be found in everything, whether during a casual stroll or a family gathering. I tend to act quickly, capturing photos on the street or picking up specific objects that might inspire future artworks. Current events, both positive and negative, from our immediate surroundings or global news, often serve as inspiration. Over time, I gather these ideas and information. The most creatively intense periods occur when preparing for an exhibition—finalizing, selecting, and arranging everything for the scheduled date.

When designing, I really focus on making sure the message comes across clearly. Whether it’s for a promotional campaign, a digital interface, or an art piece, I want the core idea to be communicated effectively and powerfully. I also emphasize consistency, maintaining a coherent visual language that aligns with the overall brand or theme of the project. This helps create a unified and professional look across all elements, from posters to social media announcements. By focusing on clarity and consistency.

When I design, I feel a sense of relaxation that clears my mind from everyday life problems. It’s similar to meditation for me. The process allows me to focus, find calm, and immerse myself completely in my creative work.

When you create something new you are pushing the boundaries of your potential, and upon seeing your finished work, you might be pleasantly surprised or even amazed by the result.

There is no formula for successful design. It demands dedicated work, keen observation of trends, and a deep understanding of life and world events. Selecting from the wealth of information gathered over time, the challenge lies in choosing forms that effectively communicate with the audience in the chosen moment. It's a matter of professional judgment, but there's no guarantee of absolute certainty.

The design needs to make impact and communicate at first glance. Then analyzing the details it needs to be functional. innovative, clear and consistent.

Design plays a pivotal role in shaping our environment and world, significantly influencing the conditions we live in. Investing in good design is crucial as it enhances aesthetic appeal, improves functionality, and enhances user experience. Designers have a responsibility to create solutions that are not only aesthetically pleasing but also environmentally sustainable. Socially engaged design work can have a profound impact by addressing pressing societal issues and fostering positive change in communities.

I believe the design field is rapidly evolving, driven by advancements in technology. In the future, AI tools will likely be perfected to navigate more precisely and provide accurate results, thereby playing a more significant role in the design process to enhance speed and adaptability to increasing needs.

One of my most recent exhibitions was "Regeneration", held in October 2023 at the Youth Cultural Centre in Skopje, North Macedonia. This exhibition featured works by Ana Ivanovska, Hristina Zafirovska, and myself. Subsequently, our art group MOMI, which includes myself, Ana Ivanovska, Hristina Zafirovska, as well as Zorica Zafirovska, Tatjana Ristovska, Marija Sotirovska, and Kristina Hadjieva, presented the exhibition "Motherhood" at the Kultural Informative Centre in Skopje, North Macedonia. Looking ahead, the exhibition "Regeneration", featuring works by Ana Ivanovska, Hristina Zafirovska, and myself, will be showcased at CC Magaza in Bitola, North Macedonia, and later in Tirana, Albania, in October.

My plans for 2024 are already set. I will be attending the A'Design Award & Competition Ceremony in Como, Italy, where I will be receiving an award. Following that, I will be exhibiting alongside two other artists, Ana Ivanovska and Hristina Zafirovska, in Bitola, North Macedonia, with plans to showcase the exhibition in Tirana, Albania, later in October. Additionally, I will be participating in several group exhibitions throughout the year.

The technique used to create this installation is entirely new, developed through numerous trials and errors. In the end, I succeeded in achieving the ethereal appearance of the objects, which speaks to the ephemeral nature of existence itself and the delicate, transient interplay between the human form and the natural world. The choice of leaf skeletons as a material was inspired by their intrinsic fragility and their ability to metaphorically echo the human skin with its circulatory system. The leaf skeletons symbolize resilience and renewal, highlighting the beauty of the cyclical processes in nature.

The ethereal quality of the installation speaks to the fragility and impermanence of the human form, while its floating, almost weightless. By using delicate materials like leaf skeletons, I sought to create figures that appear both vulnerable and resilient, reflecting the duality of human existence. This work reminds viewers of transformation as an intrinsic and beautiful part of life. It’s a reminder that we are constantly evolving.

Creating the Skin Art Installation required finding the optimal technique for connecting the delicate leaf skeletons to ensure the forms were both stable and ethereal. Leaf skeletons are incredibly fragile and tear easily, making conventional methods, such as stitching, impossible. Through experimentation, I developed a method of connecting the skeletons into a mesh-like structure, which provided the necessary rigidity while still maintaining their lightness.This mesh was carefully arranged to follow the anatomical contours of the human body, emphasizing its structure and organic flow. I used a specialized adhesive technique, ensuring the glue was almost invisible to maintain the ethereal aesthetic. Additionally, I incorporated gradient coloring to enhance the three-dimensionality of the forms and highlight the intricacies of human anatomy. This experimental process was both meticulous and rewarding, allowing the final work to embody the delicate balance between fragility, stability, and anatomical precision.

The three figures in the Skin Art Installation differ subtly in size, positioning, and color gradients, which were deliberate choices to evoke the narrative of growth and transformation. These variations reflect the diversity and individuality of human experiences while maintaining a cohesive visual dialogue between the figures. Each figure requires a significant amount of time and meticulous craftsmanship to create, as every detail contributes to the overarching narrative. The intention is for the installation to grow over time, incorporating additional figures of varying sizes, colors and postures. Recently, the work was enriched with the addition of another figure, further expanding the narrative. This evolving composition reinforces the idea of transformation as a continuous process.

The decision to present the figures in Skin Art Installation without limbs and heads is deeply rooted in both historical references and the conceptual framework of the work. Ancient sculptures, often crafted from durable materials like marble, have survived the passage of centuries, yet their fragile parts—hands, feet, and sometimes heads—are frequently missing. This physical fragmentation has become a symbol of time’s impact and the impermanence of even the most enduring creations.In contrast, my figures are intentionally crafted entirely from ephemeral materials, emphasizing their vulnerability and transience. The absence of limbs and heads in my work is not due to physical deterioration but is a deliberate artistic choice. It represents the fragility of existence and the incomplete, ever-evolving nature of human transformation. The visual parallel to ancient sculptures serves as a bridge between the timelessness of classical art and the fleeting, delicate nature of contemporary human experience. In today’s world, where everything is preserved in digital documentation, this choice also raises questions about what we define as enduring.

The dynamic interaction between the Skin Art Installation and the gallery space, facilitated by air circulation, introduces a kinetic element that profoundly enhances the metaphorical significance of transformation. The delicate figures appear to float and gently rotate, emphasizing their ethereal quality and evoking a sense of weightlessness and impermanence. Positioned two feet above the ground, the figures create the illusion of a person hovering just above the earth, caught in a moment of transcendence. The movement caused by air circulation brings the figures to life, further drawing the viewer into the narrative of transformation and reminding us of the fragile, fleeting nature of being.

n my previous works, I have often explored the similarities between systems in nature. For a certain period, I focused on studying circulation systems in living beings. The skeletal structure of leaves serves as their circulatory system, delivering all the necessary nutrients to sustain life, much like the human circulatory system, which transports vital resources throughout the body. By incorporating leaf skeletons into the figures, I sought to draw a parallel between these two systems, emphasizing the interconnectedness between humans and nature. The intricate vein patterns of the leaves echo the networks of blood vessels within the human body, adding a layer of visual and conceptual depth to the work.

When it came to the presentation of the Skin Art Installation in space, I knew from the beginning that the works needed to be suspended to create the illusion of floating. The use of clothing hangers was a deliberate choice to emphasize a new dimension of the work and add an intriguing layer of meaning.The hangers introduce a dialogue between the everyday and the ethereal, making the figures resemble garments—costumes, perhaps—that we wear and then hang in the closet at the end of the day. By using such a familiar object, I aimed to spark curiosity and invite viewers to connect with the work on both a conceptual and a personal level.

My artistic practice often evolves in parallel, exploring multiple themes simultaneously. When I have more energy, I tend to focus on socially engaged topics, creating works that address pressing issues and invite critical dialogue. However, there are moments when both the mind and body require rest and rejuvenation. It is during these times that I turn to works like Skin Art Installation, which I consider to be, in a way, meditative. These pieces allow me to engage deeply in the process of craftsmanship, where meticulous handwork, repetition, and mastery play a central role. This methodical approach not only shapes the physical work but also creates a mental space for reflection and re-centering. Through this, I can organize my thoughts and find clarity, which ultimately feeds back into my broader artistic practice. In this sense, Skin Art Installation represents not only themes of growth and transformation in a universal context but also my own personal evolution as an artist, balancing the intensity of social themes with moments of introspection and renewal.

Inspired by this award-winning piece, I envision further experimentation with natural materials that emphasize impermanence and transformation, possibly exploring how these materials interact with space, light, and movement. This direction will allow me to continue balancing socially engaged themes with introspective, meditative works, pushing the boundaries of both technique and meaning in my art.