10 Questions with Mark Sajatovich

Mark Sajatovich is an artist, historian, and educator whose creative journey is guided by a profound belief in the enduring role of art in our chaotic world. In his eyes, art is a powerful reminder that contemplation and communication remain the cornerstone upon which a brighter future can be built.  At the heart of Sajatovich's artistic philosophy lies a deep appreciation for abstract art's unique capacity to challenge, provoke, and inspire. He views abstract art as a dynamic mirror for self-discovery and opinion sharing.

Sajatovich's journey through art has been marked by a lifelong dedication to its study. His foray into the museum world saw him design digital marketing campaigns and serve as museum director. The impact of the pandemic and a rediscovery of the rich tapestry of Canadian folk and Indigenous art led him back to the canvas. By 2022, Sajatovich had produced a volume of new work and sought fresh international perspectives to broaden his scope.  Currently, his works have appeared in several international exhibitions, art magazines, and catalogues.

marksajatovich.art | @marksajatovich

INTERVIEW

First of all, can you tell us about your journey in art and how it has evolved over the years?

I explored everything from drawing comic books to making stained glass when I was younger, but most of that ended after I discovered Kandinsky's "In Blue" while in my early teens. It was fascinating to me that a piece could be painted with only two colors. It was Kandinksy's work that created my interest in the relationships between color and shape. After that, I remember being intrigued with the Renaissance and the Dutch Masters before moving to Impressionism and the Group of Seven here in Canada. Along the way, I developed an overall fascination with art history that's with me to this day. There's an incredible value that results from having an understanding of the timelines of art history, especially for emerging artists. Eventually, it was with the work of the abstract expressionists of the 1950s, de Kooning, Pollock, and Kline in particular, that I began to experiment with motion and energy in my paintings. In hindsight, I believe that I was impacted as much by Kline's paintings as I was by Kandinsky's pieces. These are the two artists that influenced me the most. Even today, I probably draw more inspiration from Kline and abstract expressionism and Kandinsky's work with geometric abstracts than anything from the past 25 years. 

How does your background in art history and education influence your artwork?

It was only through the study of art history that I was able to develop an understanding of how critical it was for an artist to always strive for originality as well as develop an appreciation for becoming more consistent with their work. It may seem obvious, but to a self-taught artist, a foundation in art history provides the knowledge to perceive their work from multiple perspectives. Also, Picasso's quote about the importance of artists borrowing and learning from other artists is very true. I've found art history critical to the understanding of how movements and styles evolved across the centuries and what they meant from one generation to the next.  In general, art history reminds us of the societal influences and various benchmarks that have marked the evolution of art and how this evolution has affected relationships between groups of artists and their audiences. I've always seen paintings as reflections of their era, so understanding the historical context helps establish the artist's relevance.

Can you describe your creative process when starting a new abstract piece?

I don't normally work from drawings or sketches, but I will generally take a few days to survey recent work I've done in my studio and assess colors, shapes, lines, techniques, and themes.  After this review is done, I'll make some basic decisions on the main components of the piece.  It's also common for me to review a few dozen international art shows and gallery tours on social media platforms each week for new ideas or particularly creative reinventions of traditional techniques. When I'm satisfied, I've identified a few starting points that will point me towards the production of something original. I'll take a few days to decide what's new about the painting and how it will fit alongside the other work in my studio. It's important to me that I have distinct pieces that are strong enough to stand alone as independent works as well as part of my overall collection of work. Once the painting begins, I'll stop after the first few hours and hang the unfinished piece, which I'll be able to live with for a few days, and simply assess what I think it needs from any number of perspectives. That's a basic breakdown of how I start a new abstract, but it's important to note that I've always found the most important part of the process takes place during the actual painting, where it's possible to make hundreds of spontaneous decisions that affect the work in progress as well as its completed look and feel.

What inspired you to focus on abstraction in your paintings?

I think it began when I discovered Rothko and Kline. There was a power to Kline's black-and-white monochrome pieces that was distinct from most of the art I'd seen until that point.  It was similar with Rothko's pieces like No.61. I was struck by the bravery of the artists and from that point forward, I tried to incorporate more elements of their style into the mostly geometric abstracts I had been interested in doing. Jackson Pollock once said that he had no fear of making changes or destroying the image because the painting has a life of its own. I agreed. The abstract expressionist and the New York school of artists made me rethink the importance of energy and motion in my paintings.  It also made me stop trying to "capture" images for landscapes or portraits. Overall, my painting became less restricted, more spontaneous, and free, and I started to focus more on the message and interpretation of the work. 

How do you blend gothic contemporary and geometric abstraction in your current work?

My interpretation of geometric abstraction is based on re-imagining common shapes that are a normal part of everyday life. In some cases, the shapes are less rigid, and their walls are extended or perhaps even broken, but the end result is that the energy released from these shapes is transferred throughout the painting (The Cards We're Dealt, 2024). My interest in the architectural styles of the Modern Gothic period dates back several years when I was living in Ottawa and became familiar with the Canadian Parliament Buildings and the fascinating, unique, decorative elements that distinguished them. Over the years, I've tried to layer Modern Gothic architectural elements from the 1800s with a variety of geometric shapes in original ways, which have resulted in some interesting pieces of abstract landscapes that were well-received. It's a challenging combination of styles that I'm comfortable with and find myself revisiting frequently over the years (Of Copper Crypts, 2024). 

What themes or emotions do you hope viewers experience when they look at your paintings?

I still remember the time I saw Alex Colville's "Horse and Train" (1954) as a child and couldn't stop staring at it for what seemed like hours.  I've never forgotten the power of that painting and the sense of impending doom that I got from the image. I think that most artists want their work to make that type of lasting impact. I'd consider it high praise if any of my paintings encouraged someone to see common things in an uncommon way, through a new lens.  Ultimately, the world needs new solutions to old problems, and I hope that the work of our emerging artists will continue to inspire new generations of critical thinkers to develop creative solutions. That said, I suppose I'd like viewers to react in a positive way to the art but also spend some time asking themselves why I painted what's on the canvas and try to understand why they like it-or not.

What are some of the personal preferences or interpretations you hope viewers re-examine through your art?

It may be a cliché, but I believe in the democracy of art.  Everyone has an artistic voice and the right to express themselves and to share those opinions. While I by no means consider myself an expert on issues like climate change (Celsius Sea, 2023), the housing crisis (Seven Rooms, 2023), or the immigration system (Toward the Sun, 2024), I have created paintings that illustrate those issues. I think it's important that we continue to educate children so that they have the power to build awareness of social issues and raise the level of discussion by communicating through their art.

Can you share a memorable experience or feedback you've received from someone viewing your work?

A few months ago, during an award ceremony and book launch in Milan. There was a gathering of dozens of international artists who were sharing stories in many languages. To be present in the company of so many dedicated and talented individuals who all were rejoicing at how privileged they felt to be able to live an artistic life was a special experience.  What made it particularly memorable was a comment I received from one artist whose work I was familiar with before the event. To have this individual praise the "dynamic and energy" of my work was unexpected but appreciated.  It reminded me that in a world where we're flooded with comments and tweets, they'll never replace the impact of a face-to-face discussion with real people about how they have been impacted by your work.  

How do you keep your work fresh and innovative while staying true to your artistic style?

The short answer is that I experiment a great deal. I always keep a "second" canvas nearby so that I can leave my active canvas to go to the second canvas to go off on a tangent and see where my latest ideas take me. There are infinite combinations of shapes, colors, and motions worth exploring. Finding innovative ways to express emotions or opinions through these combinations is part of the joy of creation. I'm always inspired by other artists who seem to reinvent themselves with each new show. There's always someone developing a new style or technique. Each new painting they produce is a celebration of courage and self-discovery.  Since the start of the pandemic, I've begun following hundreds of artists, galleries, and art shows online. There's no shortage of talented artists experimenting with endless concepts. That said, my advice is to be as free and experimental with your canvas as possible.  

And lastly, what new directions or projects are you excited to explore in the future?

It's always exciting to have new gallery partners, and there are projects underway with three European galleries that I'm excited to see come full circle in the winter.  I'll also be focusing on some online projects, including a redeveloped website and a new retail partner which will make it easier for people to acquire many of my paintings. In terms of new work, I've got a series of three pieces underway that I hope to have ready for an early winter show. I'm sure that some new project will surprise me in the next few months, but for now, I'll be pleased to get the current items finished and off the ground so I can possibly get back to Italy to do some research for some work for next year. 

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.