TANIA MELNYCZUK

Artist Statement

I create phantastical drawings in ballpoint as a basis for mixed media variants on German etching paper, each with additional unique elements drawn in. The process enhances the original work, creating greater contrast and presence.

Many of my works are elaborate figurative shaded doodles of robots and imaginary plants and animals, where early mistakes are embellished upon as a drawing evolves.

I refer to the spacetime within my signature style as an anachronistreon. This conceptual world does not lie neatly within any of the retrofuturistic genres such as steampunk, dieselpunk or decopunk, but rather exists in an anachronistic continuum drawing mainly from the mid-19th to the mid-20th century. Some elements are reminiscent of medieval bestiaries and marginalia, or have satirical references to early European colonialism, where artists were expected to draw creatures they had never seen before.

In meetings at work, my father drew caricatures of old men, while I doodled acrobatic dancers in class at school. Dr. Seuss and my younger brother’s childhood drawings are some of my most notable influences of my current portfolio.

An underlying theme of my work is the suboptimal systems we create for ourselves because of our suboptimal values. A sufficient supply of hapless and existentialist joy ensures that the world I represent does not utterly collapse under the burden of daft decisions.

My process includes making museum quality prints of my base drawings on German etching paper. This darkens the lines and allows me to create unique variants with many detailed additions. Works are marked as mixed media, and the title includes the number of the variant (e.g., Milkhound 2).

I regard presentation as an important part of the way my work is perceived. Because of this, I prefer to sell my work framed, and collaborate with specialist framers.

Artistic Beginnings

South Africa, 1965 I reluctantly begin life outside the womb.

1970 I begin writing and illustrating books. My first book is a medical drama. No idea where it is now.

1971 I begin doodling in class.

1975 I begin entering regional art competitions. I'm disqualified because my pastel artwork depicting my future self as an artist "couldn't have been drawn by a 10-year-old child".

1987 I begin studying art at the University of Stellenbosch.

1991 I begin work as a freelance writer and illustrator.

1998 I begin drawing in meetings at O-I-C Business Integration.

2000 I begin integrating art into Project Management training.

2021 I begin working on my current portfolio.

2023 I begin exhibiting. I make it into the exhibition round of the Vuleka Art Competition.

My Process

An artwork begins with a ballpoint drawing on acid-free paper. Occasionally I may also use pencil construction lines and reference photos.

Once this base drawing is complete, it is professionally scanned at high resolution and then cleaned up to remove stray spots or finger marks before being turned into a museum-quality print on off-white German etching paper. The process enhances the original work, creating greater contrast and presence. The paper size is usually bigger than the original, to allow for better positioning during framing.

I then draw in additional unique elements such as additional figures, botanical elements or embellishments, once again using ballpoint. The Hahnemuhle paper has a blackening effect on the ballpoint additions, so the transitions between the print and the new marks are not easily apparent to the viewer, even by close examination. The final artwork is a unique numbered variant of the base drawing.

Sometimes the base drawing is also available to buyers. While the scale is typically the same, the paper size is usually smaller, and the drawing itself is dark grey on white paper rather than solid black on off-white textured paper.

I sign my work on the back.

Framing

I regard presentation as an important part f the buyer's experience, and therefore prefer to present and sell my work framed where possible. I collaborate with expert framers who are either artists or art consultants, and will usually choose art glass and aluminium with off-white mounting.