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   One of the basic characteristics of Sasho Blazes’s artwork is the interpretation of the influence of countless pieces of information on the psyche of people and vice versa, with a view of purposeful destruction of individuality, a theme that has been particularly present ever since the exhibition entitled “Lust for Nostalgia” (PCB Gallery Berlin, 2017). The artworks in this cycle, especially the recent “High in no man’s land” (National Gallery, Skopje, 2022), although created using a seemingly different painterly manuscript, reflect the constant need of the author to deconstruct the elements of the painting through artistic means, as a sort of visual entanglement, but also breakdown or unraveling the various culturological layers and figuration/associative figuration, whereby, in his case, the deconstruction is, ever more intensively interpreted as “transformation of the factual phenomenon through the encroachment into the structural sediments constructing a personality”.

     Building on the conceptual continuity of his previous works, the author, on one hand nurtures a peculiar relationship with the superfluous appearance, throughout history, of art and mass media, as “mirrors reflecting reality”, “narratives”, “alternative realities”, presented through a combination of various coloristic abstract and/or figurative fragments. It is evident that, in the cycle before last, he remains focused on the psychological internalization of the layers of reality, but also a rather different stride towards the surreal ambiance is also felt. Sasho Blazes transforms and transfers the chaos of the contradictory mundane information, although triggers of sorts, into his own stories starting from various fragmented visual sequences or photographs, through insisting of layering the “conditional” moments or fragments from the outside world, as dynamic and layered records onto a white surface, interpreting essence of the “moment” and its fundamental meaning of a very short, expendable, and transitory period of time.

     On the other hand, what was announced during the previous cycle with several experimental works, Sasho Blazes further developed in his newest cycle entitled “Diving to the bottom”. In these newest works of art, the artist combines coloristic and monochromatic backgrounds overlapped with black strokes of abstract shapes, derived from the various shadows of threes, branches, but also the light reflecting from the surface of the water and refracted through the laminating waves. At the same time, he is especially focused on the expressive capabilities of the medium and the experimentation with different materials and the different base structures (Nylon, Aluminum, Plastics). The paintings represent an escape from the chaotic everyday life towards the lyrically diffused, expressive, playful, but also tranquil shadows in the night landscape of the water surface. In the context of his critical attitude towards reality, the surface of the image and the unravelling of the surface are the starting points for a substantive and crucial delving under the ostensible essence of the mass hysteria and the helpless position humans in a consumer society based on fear, prejudice, and stereotypes.

    According to the author, he tries to find a place to escape, a sanctuary, a place for meditation, and liberation from reality by diving into the deep waters, searching for the abstract shadows of our reality. For him, living by the Ohrid lake, the underwater landscapes are a mystical place that he compares to the self, the regions of deepest emotion, and the “diving to the bottom” itself is a metaphor for diving into one’s own innermost spaces.

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