From Graffiti to Plasticism: A Journey Through the Multifaceted Art of Stefan Stanojević

Stefan Stanojević is a contemporary artist whose career began in the graffiti scene of 2001 and has since evolved into an extraordinary exploration of digital, physical, and 3D art forms. With over a decade of professional design experience, Stanojević’s artistic practice is a captivating blend of abstract, pop, and surreal elements, often tied together by a unique aesthetic he calls "plasticism." His works are not only visually arresting but also emotionally resonant, striking a balance between narrative depth and playful humor.

In this interview, Stanojević shares the inspirations and creative processes behind his multidisciplinary projects, which seamlessly merge digital and traditional mediums. Looking ahead, he reveals his excitement about exploring inflatables and other new mediums, emphasizing his philosophy of letting curiosity and experimentation guide his artistic journey. His work, deeply rooted in absurdity and visual storytelling, promises continued evolution that challenges and redefines artistic boundaries.

You started as a graffiti artist in 2001 and evolved into a digital and 3D artist. Can you tell us about that journey and what drove you to explore different mediums ?

Graffiti was an instant impact but everything else came gradually. Visual world is vast so I was curious about different things and that shaped me. Firstly I did graffiti then lettering.

Then jumped into digital design. Finally I decided to start learning about the 3D environment. And I’m still learning today and it seems like forever is not enough. However, in parallel I painted, so digital to physical merges naturally. Nowadays I lean on these experiences but mostly I look towards new excitements.

How did your decade of experience as a professional designer influence your current artistic practice, and how do you think it shaped your unique style ?

Design lets me enjoy art without the pressure of a career. Applied arts introduced me to the new visual phenomena. There are small lessons in everything. Try to shape a logo, you face a lot of visual wonders.

For example, form, color, software, negative, reduction, narrative, etc. So I get some experiences across disciplines. It is interesting witnessing how some of these principles work or breakdown in other environments.

Since I started as a physical painter, I observed these phenomena through different contexts and media, and when I was able I did experiments. Try and fail. I’m not proud of all the things, but I found stuff that worked for me, and I end up with current direction. Which is by far most fulfilling and challenging form of expression in my practice.

Your work blends digital and physical forms in what you call "plasticism." Could you explain your creative process, from the initial concept to the final piece, whether it's a painting, figurine, or mural ?

I will try:) Considering figurines I brainstorm with pencil in the form of sketches and then do modeling, 3d printing, and finish. With canvases murals and graphics approach depends. It can start from reference for modeling (painting, sculpture, from life) or it can start from abstract forms, or I chase a certain narrative, or even certain phenomena, feeling, gesture.. That establishes a frame for the start.

So I can say that I start modeling with an idea of direction. When the modeling is done, I transfer geometry to another 3d programm where I set up lights, cameras and materials. With emphasis on composition and light at this stage. I optionally do post production and coloring.

When the digital phase is over, I start with the physical phase where I do all the preparations. Buying materials and tools, gessoing, sanding, color mixing. I used to paint with spraypaint but recently I switched to airbrush. Finally I varnish the canvas. After that I take photos of my work, postproduce it, post it on social media and do management. Also handle packaging, shipping, taxes and studio.

You’ve mentioned that you enjoy the shift between digital and physical studios. How does working in these different environments affect your artistic process ? Do you have a preferred medium ?

I end up with paintings of digital sculptures. Both worlds are joy and pain. I usually do modeling for a few months and then I paint for a few months. I always get excited before the switch. While I’m on the computer and shaping ideas it’s wild and fast. Once I get back to painting, everything slows down again. 

Your pieces often combine abstract, pop, and surreal elements. How do you balance aesthetic and narrative in your work? Do you start with a narrative idea or an aesthetic vision ?

I do both approaches. I can start either from aesthetics or narrative. And I’m open to blend these concepts along the way. One thing I don't do is to write textual messages. So I guess I’m more on the visual side. 

You’ve said that anything from architecture to pop culture can trigger inspiration. What are some of the most unexpected sources of inspiration for you ?

I guess music is the most unrelated source of inspiration since it's not visible, but influences my work emotionally. Not sure also how to define attraction with the trains.

You’ve mentioned that your work often plays with the idea of things being "trapped" in plastic. What does that concept represent for you, and how do you see it evolving in your future work ?

I’m excited about it. It’s like fetish. There is a lot of space for evolving. It’s bad luck to speak before acting. So I’ll stay mystic on evolving plans. :)

In your sculptures, you sometimes play with modern icons and humor, like the WhatsApp peach emoji. How do you choose which elements of contemporary culture to include in your work ?

Through the sketching I play with the object fusion and observe how that narrative resonates to me. It’s not like random picking of the objects or narrative. It’s more like bringing a new form to life while observing average human narratives. I avoid hot topics, politics or propaganda. I’m more interested in absurdity than reality. Once I model it I decide if it works or not.

In a previous interview, you talked about how digital sculpture can be turned into physical paintings. What challenges and advantages do you find in merging digital and traditional art forms ? 

Challenges would be sculpting and painting and observing sculpture in the context of painting. Advantages are flexibility, cheaper forms compared to traditional sculpting and you can simulate light and materials realistically with just a computer (but you should definitely invest in graphic card)

Your work is known for its playfulness and humor. How important is it for you that your audience understands the message behind your pieces, or do you prefer that they interpret them in their own way ?

It’s not important that the audience get an exact message. However, It’s great if they get an impression, emotion, feeling or spark of fantasy.

I witnessed people cry in front of my work without knowing the meaning. If it doesn't relate to you as a visual statement, words won't bridge that hole.

Leaving the corporate world to pursue art full-time must have been a big decision. What has been the most rewarding and most challenging aspect of working solely on your art ?

Yes, it was. The reward is that I “drive my car” so I can say where I go. I fulfill my own fantasies. And I’m proud of the final result. Challenge is every day. It's a tough job. Game of possibilities, energy and responsibilities. As Kathrin Hoffmann stated on the crate, short term pleasure long term pain. 

How do you see your work evolving in the future? Are there new mediums or themes you’re particularly excited to explore ?

I would love to try inflatables. There are also several things I want to try this winter, but I dont want to verbalize it upfront.