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R. Lizdek, B. Milanovic, S. Rupic

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27.10. - 10.11.2017
"Lust for Nostalgia"

Sasho Blazes

Kurator: Maja Chankulovska-Mihajlovska 















The latest cycle of paintings by Sasho Blazes called "Lust for Nostalgia," produced in recent years (2015-2017), consists of a series of portraits that apparently refer to the classic concept and procedure in their making. These portraits of celebrities and familiar people are striking through deconstruction of the presented figure, deconstruction that can be interpreted as a transformation of the actual appearance by getting into structural sediments that constitute a person. The author himself defines the appearance in his previous works as "memories," "mirrors of reality," "narratives," "different realities" presented by a combination of different colorist abstract and/or figurative fragments. 
In this regard, the color in the works of Blazes represents an expressive element having its own artistic and sign-related autonomy in solving the plane of the picture and defining the character of the represented physiognomy, while the vibrant colorist solutions offer association to a view in a blurred mirror. Stratification of the surface of these abstracted portraits, by means of using color in its naturalistic resonance, goes deep under the appearing essence, to give a different, even mystical meaning and function of the portrait. By retaining a multitude of recognizable elements previously present in his works, however, it is evident that in the last cycle he is more focused on the psychological perception of moments from reality relating to a specific figure, while experimenting with the layered structure and insisting on the tendentious deformation of facial elements as such. 
Insisting on "captured" moments, or fragments, corresponds to the title of this cycle "Lust for Nostalgia" by the interpretation of the essence of "the moment" and its fundamental meaning - as very brief and transient lapse of time. By using examples from art history, pop (trash) culture from former times, as well as his friends (and himself), Blazes not only touches the irony of intimate psychological experiences, but also penetrates into the social anthropology through a critical attitude to the "icons" of mass art and pop culture. His "narratives" indeed represent a reflection of the head and tail of a specific esthetic formalism, while also being a post-pop art nostalgic reference to certain traces and symbols of the past.


Maja Chankulovska-Mihajlovska