"Whereas the paintings ... are characterized by hybrid techniques combining photographic projections; elements of visual and material collage; diverse roller, spray, and printing techniques, etc., with "classical" painting techniques to thereby arrive at a parallel of the representational level in the content of the representation, there is – especially, most recently – a group of paintings focusing on an analytical confrontation with the possibilities and problems of representation as such. Based on the example of Drums, we have already established that Vukoje considers the stacked drums as color palettes, in addition to their historical-cultural meaning, which shifts the representational medium into view. At the same time, the pile of drums erects a barricade to seeing, as though painting were also a barrier for the interested gaze at the world. The idea of painting as a window to the world was established in the Renaissance; in early twentieth century modernism this window was smashed and the idea of concrete painting developed. A picture like Drums seems to be located right at the border between these two opposing notions of painting. It poses the question of how painting can deal with reality and at the same time take its own reality seriously. In other words: what and how much threatens to be lost when a particular emphasis is given to the respective other side."
Christian Kravagna: The Holy and the Profane. Painting as Masquerade. In: Hemma Schmutz, Maja Vukoje (ed.), Maja Vukoje. Verlag für moderne Kunst, Nürnberg, 2012, pp. 71–78, here p. 77.