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Zaneta Radevska Spirovska

Novica Trajkovski


17.06. -30.06.2005




Zaneta Radevska Spirovska      







Photos: Jovan Balov


Novica Trajkovski paint in cycles. Their basis is the idea that the man is not alone in the all-comprising world and that nature is not “dead”. That nothing is one-directional, that there are correspondent invisible relations and that faith and imagination are living juices and not only intellectual and religious folklore. That the vigilance lives of perceiving and people most often live of aspirations. Finally, that the reality itself is mystic and not comprehended!

Trajkovski very early reached a mastership in character focusing of the personality in the realistic portraying. He is a unique example since he has introduced portraying (and self-portraying) as a topic artistic project. In his other cycles (“Between Sleep and Wake”, “From the Eyes of the Angel”, “Waking Up”, “Landscapes”, “2000 Years of Christianity”, “Travelers” and the latest cycle “Love”) he has achieved an authentic style quality of religious symbolism, shown through an objective contents associated to the threads of mystic meditation. It is a doctrine that discourages the tragic aspect (due to its transitoriness) of life, it softens the rigidness and opens the experiences of relationships which might provide the phenomena and the objects. Trajkovski required a composition of real objects, a kind of photographic accuracy in order to elaborate materially (painterly) these considerations of his, and to be able to reach a cycle of abstraction composed of green hued areas with green crosses in the “grass”, representing the (non)union of bodies and souls between Earth and Heaven.

Novica Trajkovski is an artist of the synthesis of the wide global thoughts. He has no affinity for the concentrated and explosive topics of the social existence. Actually, he tackles no topic from this type of real life. He presents esoterically, while his thoughts have touched the esotericism. He considers the picture of the “World”, the connections in the World, the picture of the inside world in the “Duke’s Throne” in man (“man’s home is not only a geographic site, but the whole, as well”). And from that point he descended into scenes of the outside existence of man and his surroundings, symbolically by ambiance or by meaning. It was so until this cycle of “Love” when he descended (or climbed) the green sky of the earth (stars twinkle in Heaven, crosses on Earth)…

Ljuben Paunovski
(excerpt from the catalogue Painting of the Mystic Meditation)