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 Spasovski OHRIDSKI

Irene Paskali

Urban District 16_11

Miodrag Peric


Dodic & Nedeljkov

Bitrakova & Lazarevska

Zoran Živković

Sanja Saso

Huskovic & Blazevski

Kruno Jasprica


Art 20




19.12.2008 - 06.01.2009

"Digital to Digital"

Dragan Spasovski OHRIDSKI

Ohrid, Makedonien



“The main idea is conquering the infinite in cyber space and time, i.e. the process of multiplying a form to infinity. Everything begins and ends with the digital”

D. Spasovski OHRIDSKI


I believe that in contemporary Macedonian art, one specific sight is expressed: the nostalgia for past times, for some former, ancient, stylish eras. Some painters shape this fancy for the past in a complex work of art. Such is the project of Dragan Spaseski – Ohridski. This surgeon, a specialist  in orthopedics, captures the material of the human body very precisely and with  brilliant drawing; while he discovers the spiritually of the human personality as a passionately devoted intellectual: what he finds there he renders in small prosaic – poetic compositions, woven of lucid – but very often with poi sonly, cynical and skeptical – philosophical, ethical, sociological and political observations.  Spaseski – Ohridski is one of those Macedonian painters who, on the foundations of his abundant native culture and professional knowledge, and with no outside persuasion, as a personal determination and often  against the current artistic tide, in accordance with its epochal characteristics, makes some kind of personal revival and reinterpreted the past styles.



Dragan Spasovski OHRIDSKI


Because of historical reasons, this past styles never happened in this spot at the same time that they did in Europe. Spaseski – Ohridski is personally touched by those  models of the foreign past; but at the same time , with the artistic level of his own creations, he supplements and gives final shape to the spiritual history and the ripening of Macedonian culture. By series of signs in their poesy, the works of Spaseski –Ohridski ( especially the newest ones ) can be compared to those of contemporary Italian anachronisms, hyper mannerists and new mannerists. Just as it is for them, so it is for Spaseski – Ohridski: art is an “old- fashioned” craft as opposed to the capitalist’s manufacturing; a beautiful working of the past that attacks  the present. But he doesn’t exploit  many of those motifs that were the favorites of  to his Italian colleagues.



Spaseski –Ohridski doesn’t follow their type  of visual mockery and irony; possessed by the art of the late renaissance and mannerism he has a direct attitude toward the Italians. They correspond to the spiritual being of Spaseski- Ohridski: the beauty of the painting of that epoch was an expression of the strife to unite the earthly and the heavenly; the profane and the sublime; with the perfection with which the artist of that time shaped the complex spiritual messages of his pictorial compositions  he strove to become one with the imaginary metaphysical demiurge of the whole universe. Such ambitious  aspirations caused a major metamorphosis of the painting strategy. Imposing, unexpected effects in the composition, lighting and use of colors joined the new various changes and distortions of figures: of mortals and saints.


Many of this Spaseski- Ohridski has taken as an artist: that is why it is possible to compares his works with the material (seen by the artist in site) which gave the impetus. With considerable technical works chip that Spaseski- Ohridski has mastered, he can communicate with his idols: but he also possesses their fiery creative scrupulosity, which even to himself alone, doesn’t allow any unfinished or superficial effect. This coherence of artistic technique is very much present in the use of soft shades(in accordance with the color register of mannerism) with gently melt into one another; with his unconventional, fancied and surreal compositions, this artist wants to emphasize the semantic essence of his paintings. Even if the exterior appearance of the paintings of Spas ski – Ohridski (supported sometimes by their titles) reminds us visually of the iconographic configuration of  old religious works, they actually express a very modern sense of the world.

Some of his paintings: “Although of sugar, your gift is a knife  (1996), “Ah so much time have I wasted on your body” (1996), “After the sin” (1997, golden foil added), “Crucifixion of love” (1998) and “Ohrid Madonna” (1999), with a delicate but suggestive provocation, discover the author’s experience of erotic desire. This impulse toward sensual bodily love is taken into promiscuity by insinuation of holy facts: a golden aureole around the head of a  woman with a bare back (“After the sin”), a crucifixion in “Crucifixion of love”. All female characters (usually inspired by the author’s wife ) in any painting, Spaseski-Ohridski associates with the lovely face of Madonna from the past. Such is the case with the half-naked bust of the “Ohrid Madonna”   (1999 variant ). Male characters, young and old, are always in a subordinate, dependent position             (sometimes their faces are completely hidden). Their physical appearance : melancholic, nostalgic faces;  with relaxed, softened bodies; reminds us of pious models. In the two paintings with religious titles, Spaseski –Ohridski  has re-shaped  the holy event. Instead of the prodigal son, he painted the returning of the prodigal father: presented with his back to the viewer, he kneels, bent before his “wife”,  with his “child” in her hands. In “Annunciation” (1999), a young woman in a high pose dressed in some old fashion with her naked leg peering out, addresses with a loving gesture the young man with a cloak. And  he seems to be startled by what he hears. The figures in a ring – aureole, are  located in an undefined “heavenly” area.

This noble obsession of Spaseski-Ohridski: to unite  thought and  feeling, the spiritual and the aesthetic, is, finally, only an artistic mode to recreate the great artistic impetuses and  his native (Ohrid) ambience.


Prof. d-r Boris Petkovski