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ISSN 1409-6900 | UDK 82+7     Blesok no. 48 | volume IX | May-June,2006



                     Peer-reviewed journal
Blesok no. 48May-June,2006
Gallery Reviews


p. 1
Vlatko Galevski

    As usual the title emerges from the idea. In the case of Darko Moraitov, i.e. the collection of portraits titled “TWOconstruction” shows primarily synthetic and formally unifying structure of portraits as well as an attempt to disclose the diversity.

    The uniformity of the “black and white” human is only on the surface of his photographs. Underneath one could discover endless number of nuances of colours, invisible and tactile, unreal and pastel, inexistent but present. Hence, the black and white function as equal values without a mutual conflict but a subtitle moment of their symbolic opposition. There you can find the peeking of the chromatic scale of worm and cold nuances in Moraitov’s photographs where one could notice discrete facing of the shadows and the light, not allowing any of them to have the advantage but they are double determined following the yin and yang principle.

    Moraitov wants to stimulate the consumer’s curiosity, to force discovering of ancient but not random things,to stimulate the senses and to awake the sleepy optimism. However, Moraitov also needs to scratch in the alter ego of his models, in their homo duplex which is immanent only to the conscience mammal, to both question and to respond.

    By choosing the diptych as a form the author discovers the double meaning, he propose dualism in the uniqueness, the monism of the plus and the minus, the range of the unisonism.

    However, the complexity is neither the style nor the method of Moraitov. On the contrary his lens reacts sharply and precisely, without any unnecessary affection. Maybe that is the reason behind the simplicity of his expression we can find the principle of discovering the beautiful. The camera in Darko’s hands does not search for symbols and metaphors but it discovers them and records them in a spontaneous manner. For this reason the mood of those on his portraits is the crucial moment of the author’s inspiration when the stop-frame is the real moment separated from the “motion’s monotony”.

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