Zoe Miloš interview
Interview by: Marko Zubak
Can you tell us something about yourself and your journey into the world of art from the world of skateboarding? Was there ever a point where skateboarding became jealous of art?
I’d say the intersection happened primarily through photography, which is not only an integral part of skate culture but also the most accessible medium. Photography became the first way I started capturing what seemed interesting to me about skateboarding. Later, it became the “gateway” to expanding my interest in other media I use today. I think after 15 years or more of intense involvement, skateboarding would understand the tendencies it has caused more than it would be jealous, especially of creation, which is something it also embodies in a way.
Do you ever experience moments in your artistic process similar to skateboarding, where you’re trying to land a trick and it takes a while before you succeed? Can such a comparison even be made, or are these two completely different kinds of creativity?
Definitely. I think that’s one of the reasons why we continue doing something for many years. The continuous failed attempts and moment when you finally cross the line between success and failure are some of the rewards you begin to appreciate in skateboarding. It’s a principle that can guide you in any pursuit because it makes everything more interesting, and mistakes become justified. So, yes, I would compare all expressive methods to some extent because (I assume) we are returning to the feeling that the medium provides us with, more than the medium itself.
What tools do you use for your creative work? Can you explain why you chose these particular tools?
For smaller-format works on paper, I mainly use traditional tools in combination with graphic techniques like xerography. When painting larger formats, I use whatever suits the situation and process: spray paint, oil, acrylic, enamel, concrete paint… I tend to believe that I’m not a good draftsman and that without color, I can’t achieve much. By combining everything I mentioned, I create relationships not only between the colors but also between their textures, the tools used to apply them, and the space in front of and behind them. This allows for unexpected results during experimentation, making the finished work more comprehensive and (hopefully) more concrete.
The texture and materiality of your larger-format paintings are striking. How important is physical interaction with your works in conveying the overall narrative? Do you envision your audience engaging with your art beyond just visual perception?
Most of these paintings develop over months, with layers of paint being accumulated almost randomly, scraped, glued, torn… You could say I venture into sculpture (which I studied), and through this process, I arrive at textures that contribute to the final appearance and later reception of the work. Despite being in a classical form of creation that is primarily visually perceived, I hope that, like me, viewers experience associations that turn the paintings into symbols of something beyond mere aesthetics.
You work at a time when many see traditional art as a preservation of the past. How do you reconcile the nostalgic aspect of your practice with the forward-looking perspective often found in contemporary art?
Since what I do is primarily intended for myself, the assumption is that I have chosen it regardless of trends or the state of the art at any given time. This means that the conscious use of something archaic might even be a statement against recent tendencies around us, although that’s not necessarily the case for me. Today, eclecticism is an inseparable part of existence, so I don’t think it’s necessary to ask what medium someone works with, but rather why and to what end they engage with it on a spiritual level.
I particularly love your works where you combine traditional media with more contemporary techniques like photocopying. How do you see the relationship between technology and traditional art evolving in your work? Do you set any boundaries for yourself, and what does it take to cross them?
I accidentally stumbled upon this process at Oleg’s Print Zine workshop (and I still don’t know how), where I printed over an already finished work and discovered that the xerographic machine would become central to my work on paper ever since. So, an experiment I didn’t control resulted in a feeling we’d already discussed, directing an entire way of creating that I hadn’t even considered. Every breaking of boundaries brings new ones, and every new relationship (between tradition and technology) comes with its limitations or advantages, which may be motivations but not the goal.
In an era when digital art is becoming increasingly prominent, what drives you to stay loyal to traditional media? Do you think the physicality and tactility in art offer something irreplaceable for the viewer’s experience?
Ultimately, it comes down to taste. For something to remain relevant, it has to change over time according to spirit, demand, and fashion… Today’s factors differ from those of yesterday, and the same will be true tomorrow. The same applies to skateboarding, which survives by changing. Sometimes we like it, sometimes less so, but its survival suggests that there is probably something of quality and interest, perhaps even spiritual, in it. What I’m currently working on requires a certain tactility and handwriting, even though it’s on a two-dimensional surface — something that distances it from the digital realm. However, as mentioned earlier, everything could significantly change tomorrow. All new possibilities are certainly usable and more suitable if there is a reason. I don’t think it’s about loyalty to tradition, but more about affinity and one’s position within time, at least in my case.
How do you see the future of creativity now that generative artificial intelligence is evolving rapidly, opening new paths for artists and creatives? Do you see anything exciting in this new technology? Some claim that AI could potentially replace human creativity, while collaboration between AI and humans is increasing. What do you think? Do you see AI as a collaborator or a competitor to human artists?
AI is progress, and we can’t deny that, assuming it can generally add more than it takes away. More precisely, it can add to art, while it can speed up or skip processes for the individual creator. The use of AI has become attractive and a “thing of the day,” a trend that can be both good and bad. I don’t think AI will diminish creativity, but it could direct it in another direction that changes the paradigm of the medium. Still, I believe creativity is one of the fundamental values that stands above most materializations, including AI, no matter how widespread or trendy it becomes.
With more serious work come exhibitions, and that’s nothing new to you. In what way do you manage to exist as an artist within your community? Do you see exhibitions as enjoyment and motivation for work or something inevitable that you need to get used to in the art world?
Given the number of opportunities I haven’t applied for, I wouldn’t say I’m serious enough about this integral but secondary aspect of creation: exhibiting. While I’m aware of the possibilities exhibitions offer, I think there’s a norm to constantly exhibit, which (at least for now) seems like one of the steps I will mature into once my creation reaches the level I aspire to. I believe that exhibiting is one of the more important processes of creation because it allows what you’ve made or conceived to be viewed as objectively as possible when it’s isolated and placed in a natural habitat. This way, you notice mistakes, strengths, or weaknesses, and it opens space for discussion and critique, which is just as important, if not the most important aspect of growing into a concrete artist.
Here’s Jabe, he has a question for you: What defined, taught, or shaped you the most for society and life during your skateboarding years? What’s your skateboarding highlight?
The first thing that comes to mind is perseverance. That drive to master something regardless of how long it takes is one of the most valuable lessons that has shaped my future endeavors — or maybe I’m just glorifying skateboarding, which is also possible. The biggest achievement in skateboarding was finding like-minded people. We became friends, made a video, and continued hanging out and collaborating to this day. That’s undoubtedly the biggest achievement, without a doubt.
Finally, what’s next for you and your work? Do you have any exciting projects or collaborations coming up?
After Vladimir, I’m going to a residency, and that’s all I know regarding work until the end of the year. Beyond that, I tend to gradually increase the size of my paintings, to try screen printing again, and even to combine screen printing with painting… I’m afraid not much is set in stone, but at the same time, that excites me due to the many open possibilities.