Blesok no. 65, March-April, 2009
(Museum of the City of Skopje, March, 2009)
Viktorija Vaseva Dimeska
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 to those moments when the general plan – the actual form appears from the depth of the very tissue related to multiplied signs. Thus it transforms in one interesting, visually effective and as a notion mysterious duality: a sign into a sign. The technique within this context only transcribes and invitingly imitates the natural order by using signs within time which evidence the authenticity of one actual space. The authenticity refers to the beginning and the end, as well as the enigmatic disappearance of these numerical values, since the very frame of our life gives birth to the measure of time.
These impressive paintings about determined sensations established in one general plan as a part of a process that lasts, as days coming one after another with their positive and negative sides, their touch and absence of it, evolve according to one precisely premeditated, constructed system and plan of the author in a kind of a flow, which represents a sublimation of a dialogue between measures and relations.
I am under the impression that the author has established himself a goal: to comprise and optically realize true reality that exists out of the graphic and after that instate on the very surface those optical sequences of advent life that is sublimated into correlations selected according his own interpretation of reality. Visually they create symbolic signs as subjective notions and ideas, but at the same time they are also the reality which the observer can recognize. As much it is interpreted through the subjective filter of the author, it still represents that reality which is one sequence, picture, representation, impression of the real advent world out of one general plan that Ladislav only subtly selects those important moments which is the deepest essence of existence: love, touch, conversation … Nevertheless, he attacks more our conscience and awareness of caring, returning, keeping and lasting of these values destroyed by globalization, monotony, empathy, apathy, deforming, blindness, pain, smothered and silenced things …
Carefully built digital constructions, hundreds similar, multiplied lines – colorful abundance of the geometrical mosaic, where only ornament and color is recognizable, become one symbolic sign of globalization, of reality that always surprises us, and is most often discovered too late.
Finally these graphics are not a decoration, they are not a design, they are subtle compositions with an extraordinary distribution of its elements, forms and color variations, but they are as well one condensed, analytical and methodical reality, a trace and comic remark regarding the existential state of things, today in this reduplicated, cloned and alienated world.
The issue of emptiness and the feeling of personal and general loss become a colossal confirmation that mistakes once done create the burden of presence and bind it to cope with the consequences. They are too much present to leave us indifferent.
And all those touches, love stories, chit-chats … the author succeeds to pull them through an eye of a needle of the mute one: the speeding, aggravating, neurotic, insensitive world of passers by, those passing a street, emotional gladiators of totalitarism, of everyday paralyzing, panic hasten that covers our eyes in order not to notice the things we permanently see, and thus not recognize.
In my opinion, Ladislav’s work that I know is about two segments: linear, the handwriting of an enlarged sign as a message, and reticulate, multi-sign weaving that he draws it from, appearing … the traces – hands, contact, the sensitivity in its whole geometrical precision and symbolism that abides, but also transforms the rules of existence of a spot – it becomes a travelogue …
Certainly, a small distinction can be made between the suggested works with the “optional” graphics which move towards a more plastic, more decorative, color like noisier game, while the rest move towards a more intense symbolism of a carefully built digital construction regarding premeditated multiplying of fragments, avoiding the unique view of a geometrical perspective, but tries to give one possible, personal view of a condensed reality.
Besides all neatness of the compositions, Ladislav Cvetkovski does not present solution of this geometrical dilemma as a goal by itself, only uses it as a tool.
Silently and unobtrusively, most often cynically, through the beautified world of art marks fragments on its back, as well as anomalies of time in which we live.