GORAN MAKESKI – CRITIC
TECHNICAL CHARACTERISTICS: All the works in the gallery have been made on high quality glossy photo paper and exclusively with diluted acrylic colours.

There is a particular kind of green/blue that, compared to the other tints, stands out much more. This is about a new and particular kind of colour that, illuminated with direct light, shows all his beautiful brightness.
1st SEQUENCE (In vino veritas): Among the works the artist chose for the gallery, there is a first sequence composed of four paintings, in which we can immediately recognize some elements relied with wine – as also the name of all these works suggests – and in general with thrill.

Bottles, different types of glass and decanter develops from female figures, recognizable by physical details like long eyelashes and red and fleshy mouths, bundled to create a swirl of curves, symbol of femininity and eroticism.

All these elements are unavoidably relied with the carachteristics and sensations produced by the wine, and in general, with the thrill that comes from his assumption.

In the first work of the sequence, the prevailing colour is red, appearing in the top-right corner, in which the artist painted a bottleneck from whom wine is flowing.

Instead, the second painting is absolutely particular and full of hidden meanings. The artist has created, just drawing some glass and their shadows, an extremely sensuous female profile delineating her body contouring from hair to the shoulder – or probably a part of the breast.

The third work selected, arises in the observer a feeling of confusion, because it’s hard to understand if the artist has painted one or two glass. The very personal opinion of who’s writing, is that there are two glass, from which red wine comes out copiously, after a thunderous clash for a toast.

The last work selected of this sequence is very different from the others, both in the composition, the colours, and in the title. Indeed, in the foreground, there is a new and particular kind of glass.

No more floating lines reminding the flow of the red nectar of the gods, but female faces invading and surrounding the main subject – a stylish martini glass – and the whole surface of the painting, with their fierce and provocative big eyes.

2nd SEQUENCE: Between the paintings of the one that can be identified – through the names the artist gave to their creations – as a sequence dedicated to the contemporary human condition, frequently stands out the particular kind of green/blue previously described.

The main characteristic of this sequence – of which have been selected four works for our gallery – seems to be the will of the artist to throw himself and the observer in the land of dreams, explicitly evoked in the title of one of the paintings.

The sinuous and well-defined female figures of the “In vino veritas” sequence have been replaced with sketchy faces and bodies, mixed in a sort of lost soul’s tangle that creates abstract figures. The only exception in this sense in “Out of Africa”, which only with his title evokes topic and delicates arguments.

The painting is composed only by figures of different colours, maybe an allusion to the various ethnicities of that continent, and in general of those of the whole world.

The dark brown man with his cap and his big noose painted in the top-left corner is the most clear element of the painting and probably also the main subject. The mouth is open in a scream of terror, as if the man was trying to ask for help. Is this a clear symbol of the increasingly dramatic situation, in which most of the states of this continent are involved.

ARTISTIC REFERENCES: The colours of all the paintings exposed in our gallery are a clear but unintentional cross-reference to Surrealism, as well as the dripping figures seems a tribute to Salvador Dalì, remembering for example “The persistence of memory”, one of his most famous works.

“Cocktail” appears immediately completely different from the other works. Made with strong brushworks of green and yellow, remembers the Nordic expressionism, with a particular reference to the tribal figures and the masks of Emil Nolde.

Instead, the constant repetition of female faces and bodies, recall the works of the French Francis Picabia, mindful of the faceting conceived by the Cubists at the beginning of the XXth century. Among all, deserves to be remembered for similarity “Hera”, painted in 1929. The face of Zeus’ wife and sister it’s represented many times, with positions and attitudes all different from each other, trying to suggest how each state of mind characterize uniquely the human face, and in particular, the female face.