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 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.
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