Reminiscing on Past-lives
A solo exhibition by Zoya Godoroja-Prieckaerts at Megalo Print Studio.
Intentos de Procesar Una(s) Vida(s) / Attempts at Processing a Life(s)
Zoya Godoroja-Prieckaerts
5th of July – 16th of August 2025
Megalo Print Studio
Artist, friend, curator and volunteer.
Zoya Godoroja-Prieckaerts is known by many through her commitment to contemporary art. Zoya’s persistent presence has helped shape artist communities around Australia, taking on multiple roles, including independent artist, curator and mentor. These “lives” have influenced the exhibition ‘Intentos de Procesar Una(s) Vida(s)/ Attempts at Processing a Life’ through intimate portraits and poems. Forlorn faces and banjo players – Zoya Godoroja-Prieckaerts honours past-lives through paper and printed artworks.
Zoya Godoroja-Prieckaerts, mono-print, 2025
I was fortunate enough to meet Zoya during a Travelling Artist Residency in 2018. As Director of Watch This Space, I sought her advice regarding desert life including best pools, parties and pubs. Her general enthusiasm towards art made her a perfect studio companion as I developed a series of printed artworks based on topographic maps. The studio and courtyard at Watch This Space became a printmaking studio, utilising floors and trestle tables to create screen-prints and linocuts.
This do-it-yourself aesthetic continues in Zoya’s practice today as the carborundum collagraph series is both intuitive and technical. Applying carborundum onto a Perspex or copper plate and mixing with oil-based ink creates a wet-on-wet effect. This quick process differs from lithography as you are not cleaning after each step. The ‘December in Sydney’ series uses this intuitive process to create playful marks that result in a series of abstract prints.
Helen Frankenthaler, ‘Abandoned Stone,’ 1984, lithograph
Like the ‘Abandoned Stone’ series (1984) by Helen Frankenthaler, abstraction is a result of immediate and intuitive brushstrokes. After grinding a piece of limestone for an hour, a paint brush glides over the limestone surface, encouraging personal and playful marks. ‘When we weep’ (2023) is a perfect example of the initiative lithography process as Godoroja-Prieckaerts uses tusche, a waxy crayon to draw two figures. The black tusche reacts with the wet paper resulting in an immediate and intimate reaction.
Zoya Godoroja-Prieckaerts, ‘When we weep,’ 2023, lithograph
During my visit to Alice Springs I was fortunate enough to experience her solo exhibition titled ‘Building Walls’ at Watch This Space. The exhibition comprised of a large square tent made from canvas. Taking my shoes off, I discovered hundreds of ink impressions inside. The marks reflected bodily impressions with thin painterly marks reminding me of Chinese or Japanese caricatures. The painterly gestures became a trademark, giving weight to simple and expressive marks on paper.
Zoya Godoroja-Prieckaerts, ‘Building Walls,’ 2018, Mparntwe/Alice Springs
Since 2018 I have seen her artworks transform – disclosing quiet and intimate scenes. The solo exhibition at Megalo Print Studio titled ‘Intentos de Procesar Una(s) Vida(s)’ moves away from abstraction, incorporating friendly faces and felines. The painted and pressed ink give the black cat extra appeal as it is embraced by a big red jumper. The warmth of each portrait, through beach scenes and backyards is comforting and relatable. The point-of-view creates intimacy as we sit with Godoroja-Prieckaerts, reflecting on people and places in Australia and around the world.
Zoya Godoroja-Prieckaerts, ‘A series of monoprints,’ 2025
Zoya Godoroja-Prieckaerts, ‘Attempts at processing a life(s)’ series, 2024
Moving clockwise around the room I am reminded of the ‘Lovers’ series by Joy Hester when viewing ‘Attempts at processing a life(s).’ One portrait in particular titled ‘Lovers II’ (1948-1949) uses watercolour and ink to imbue strong powerful emotions. The eyes are key to Hester and Godoroja-Prieckaerts composition as they detract from shadowy figures and create intrigue. Hester exhibited the ‘Lovers’ series in 1950 Melbourne and was criticised for sharing “too much, too soon.” The personal portraits were rejected by the Melbourne art community - only to be accepted 75 years later.
Joy Hester, ‘Lovers II,’ 1956
‘Intentos de Procesar Una(s) Vida(s),’ is a portal into the world of Zoya Godoroja- Prieckaerts, complete with “intense emotions, chaos and vulnerability.” The affectionate artworks summarise events of the past three years, including an artist residency in Spain and relocation to Melbourne. Each diary entry acts as a past memory, with shapes and colour referencing turbulent and peaceful times. The change in colour and form represents an emotional shift as Godoroja-Prieckaerts moves beyond past experiences and celebrates current wins.
The solo exhibition by Zoya Godoroja-Prieckaerts closes on Saturday the 16th of August at Megalo Print Studio and Gallery. Artworks are available for sale in person and online.
All artworks featured in this article can be found at the National Gallery of Australia website and Megalo Printmaking Studio.
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