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Beyond the light and the colour  

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Sun for All


Anka Danailovska -

"From the Pages of Fairy Tales"
27.10. - 16.11.2006






 Anka Danailovska


From the Pages of Fairy Tales


            The reading of the visual discourse of the young graphic artist Anka Danailovska is a particularly subtle and serious act for the adult observer. His/her reception and relation – and, as we said, such an approach refers to the adult observer in particular – should be mentally adapted to the object of observation since the discourse of this écriture belongs to another world, a world different from that of the adults. The configuration of the subtly conceived surreal and fantastic world of fairy tales and of the voracious and impatient eye which fretfully wanders over the surface of her works proposes to the observer a child’s perspective.






Through the simulation of the innocent but controlled childlike discourse impressed into or drawn on her recent prints and pastels, Anka Danailovska turns to the re-designing of her fairy tales illustrated or painted long ago.  In her work, this principle symbolizes weaving a new cloth with old yarn, i.e., an instance of unique self-quotation and self-compilation.

            The world of this specifically illustrated and serious genre includes various individual approaches in terms of the adult observer’s perception and experience. Hence, the discourse of this, the most recently illustrated series, evokes our own dreams. On this exciting journey, page after page, fragments of already seen images emerge before our wide-open eyes. Only our yearning for the intensity of former joy and pleasure of identification experienced in our games or between the covers of fairy tales now remain; these fairy tails in which we once lived or with whose numerous heroes we identified are now  put aside or completely abandoned.






            The structure and narration in Anka Danailovska’s stories depend on the combination and interaction of the motifs of the respective work. She constantly replicates and moves from one performed act to another the differently or similarly treated motifs. The obsessive presence of different objects (cottages, windows, fences, staircases climbing to the sky, reflections in mirrors or full/empty screens) replaces the subjects, i.e., the heroes of her stories. As in fairy tales, the objects become subjects and narrators. The effect of distanced perception is the result not only of the absence of the real subject but, above all, of  the presence of various angles of perception of the given objects within the composition.  This means that the real subject is always outside the respective event; thus it can participate in the narration together with the observer. As bearers of the subjects, the objects weave the structure of the stories in a specific and subtle manner, thus captivating our imagination with their mirth and innocence.

            As appealing as it may seem, survival in the world of this genre is strenuous and dangerous.  For each author, it includes self-testing of imagination and permanent development and spreading towards new, still unconquered horizons. This, however, makes the sailing along the labyrinth of the miraculous and fantastic perilous and exhausting. It is a genre that constantly re-actualizes the world of the Minotaur (and the child) which voraciously and greedily asks for a new sacrifice, never as beautiful and seductive as that from the previous fantasy. In such a creative labyrinth, pleasure always waits in the shadows for the author/victim. It is always situated opposite his/her hedonistic product that reflects games without borders.  Let us hope that Anka Danailovska will know, in future, too, how to conquer with her fantasy the new horizons of this attractive but enormously responsible and difficult genre.      

Konča Pirkoska art critic

                                                                     Translator :  Rajna Koska