Paradox – “A seemingly unacceptable conclusion derived from a seemingly
acceptable premise, through a seemingly acceptable conclusion”
Darko Moraitov’s Paradoxes give us a strong incentive for critical thinking;
a motivation for our intellectual instruments of judgment. In fact, they
suggest a kind of visual antinomy of the stories-puzzles which are being
presented. In this view, Moraitov’s Paradoxes are not spatial, but temporal.
Therefore, they can be “defined” as “future in the past”, as a spiritual and
cerebral balance of contradictions. The initial futurism in Moraitov’s
motifs is not aimed at a final separation with the past; rather, it acts as
a touch of tradition and rebellion, as a blend of memory and idea. A thought
without a paradox is like a lover without passion; a photograph without a
paradox is like a frigid mistress.
This pictorial (deliberately not – photography) project, at times,
“immodestly” exceeds the limits of the paradoxical, simultaneously flirting
with oxymorons and irony, with causerie such as “complete fragmentation”, or
“the essence of polystyrene”. The abundance of symbolic indicators: white –
cognition, red – concentration, milk – immortality, pomegranate – fertility,
fish – life, egg – conception/meditation… enhances the key narrational-visual
structure of Moraitov’s photographs. The research of paradox is the basic
skeleton of his creative experiment, generously complemented with precision
of perspective, consistency of composition and high selectivity of the
energy points of each individual piece.
This project is like a journey through the wondrous dimensions of human
imagination; like insisting on an interpretative effort in discovering one’s