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ISSN 1409-6900 | UDK 82+7     Blesok no. 56 | volume X | September-October, 2007



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                     Peer-reviewed journal
Blesok no. 56September-October, 2007
Gallery Reviews

Miroslav Masin, “Fish – Bird – Woman”

/3
p. 1
Various authors

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Miroslav Masin

The fish, the bird, the woman
    the finest beauties in their environments.
    They permeate on the canvass and mingle
    They touch and copulate
    They make love and like each other
    They turn motley, white, they feel each other.
    They transform
    From one form into another
    And into another
    … into the universal finest beauty.
    Sometimes the women flies
    The fish kisses
    The bird swims
    … lovely, isn’t it?
    They dance hugged in the white
    (sometimes I get in between).
    They imbibe the love
    while the white returns it
    reflects it towards us
    towards the Universe

Elizabeta Šeleva

When you tread through the white
    (Miroslav Masin “Fish – Bird – Woman”, CIC, November 2007)

“Everything the poet touches and what renders the material for his poem must pass through him transformed. And vise versa. If the motif is fish – it must, on some curve, pass briskly through the being of the fish”. This is how the poet Eftim Kletnikov views his artistic experience. But the same view on the necessity of a subjective-personal metamorphosis, maybe even more, refers to the artistic venture of the painter who, due to his queer / slanted perception over and over again conquers the world of phenomena with the form of his work, turning it into a world of essences.
    

    In the actual artistic poetics of Miroslav Masin there is an undisputable and obvious procedure of stylization – of reducing the corporeal representations/forms to fundamental marks: beak, eye, rear, foot, followed by their free hybridization: an unexpected coupling to the level of intertwining and/or melting together of different bodies, animal kinds and species. Subjected to the process of painful transformation, the forms given as such in nature, the colors, the bounds – in a stylized way become mutually congruent, that is, torn out of the non-being into a being as new, this time hybrid creatures, in their positive, affirmative, proven and once and for all conquered existence on the painting canvas.
    

    “The animal is an incarnated presence” – states Arthur Schopenhauer – the animal is bound to the visible and the present, and unlike the man, it is “content with the bare existence”.
    






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