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ISSN 1409-6900 | UDK 82+7     Blesok no. 65 | volume XII | March-April, 2009



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                     Peer-reviewed journal
Blesok no. 65March-April, 2009
Gallery Reviews

Pixstories

(Museum of the City of Skopje, March, 2009)


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p. 1
Viktorija Vaseva Dimeska

The reality can be presented solely by construction of the reality itself
    (Gurski)

The system, that Ladislav Cvetkovski establishes, comprises internal arrangement of well circumspect sequences which are consisted in the composition, and further on build that constructing, weaving structure of linguistic reproduction regarding its visual speech.
    That entity constantly separates and selects parts that reciprocally condition each other - the mutual dependence of all segments, of all vignettes, lines, spots … that the composition is comprised of – create one chain like whole which could not have been defined without the primary characteristic of the author – a strong feeling for linear intersections and correlations, as well as meticulously premeditated composition basis, a sense for well distribution of composition elements.
    Finally, the emphasis is not on the decoration, the design has spoken to us through one subtle, wise and open provocative game – a provocation that opens the dilemma of power and the openness towards understanding in general.
    

    The iconography envelops the primary dream of the chaotic world that in its patronage hides and comprises remnants of the visual material extracting it from the depot in relation to the feelings. All of a sudden, through those simple reviews touching the globalization, Ladislav creates one urban sort of play demonstrating a sustained or concealed exalted attitude. He creates paintings as a counterpoint to this trivial world that has nothing in common with besides the fact he lives in it.
    The ornamental net is a basis which interchanges discretely shifted shades of intense color that seems to be calmed exactly by multiplying the signs that create these shades and form the touch of hands. (When asked in one interview: why after all he uses intense colors, David Smith answered: because it is harder to use them properly!)
    

    The sign in Ladislav’s graphics appears in two forms: it either fills in the basis or presents itself as a symbol – a sign applied more aggressively as a vignette over the basic sign weaving. The sign becomes a form, and in that newly created intimate world of the author constructs one new system of figures (concrete: hands; abstract: associating signs) and further on they revive to the level when in the whole of the composition they lose the touch with the source as a primary vision. On one hand, these ornamental codes form a mysterious interlacing that carefully hides the relationship among the segments, while the other adjusts






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