LONG. LOUD. SILENCE.
In the past six out of fifteen years, following the end of the civil strife
in Macedonia, the artistic career of Pandora Apostolovska Sazdovska is
geared towards the creation of works, installations and activist public
projects evoking the feeling of lost. In the early stages of her calling,
she bravely questioned the link between war and civilization, mourning the
failed dreams of the modern man. Informed by deep sensibility and, driven by
psychological anxieties she personally experienced in a country once caught
in the flames of civil strife, her work is a subtle but legitimately brutal
reminder. Her evocative installations weave her childhood memories with the
suffering of the Syrian kids and the mute but deafening cry of their
mothers. Fashioned from specific materials impregnated with personal
memories and belongings she creates regretful spaces reflecting the everyday
The symbolism of her 'art poetry' addresses the failed moments of humanity
in all this tragic, anti-poetic real-life dramas, exposing the inability of
man to come with his/her own pseudo-grandiose terms. In that logic her work
is pessimistic but also deeply poetic in an Adorno_ian sense – if “no poetry
can be written after Auschwitz,” as this great intellectual proclaimed after
the World War II – she asks what poetry can grasp the Auschwitzes happening
in Syria today, in the Middle East yesterday or in the Balkans only 10 years
Saso Sazdovski is an artist who perceives his sculptural experience and
works’ conceptualisation through strict and symbolic forms and clear
minimalist compositions which, depending on the thematic disposition, create
mutual rhythmic /continual relations and harmonic/specific positions.
The gaze of the spectator is always engaged with the straight or
curvy/rounded movements of his sculptures, focusing on the volume and lines’
sculptural language, following simultaneously their dynamics which, most
often, calls upon the clear and reduced subtle plasticity.
When the titles of his previous sculptural cycles, such as “Infinity,”
“Family” or “Energy,” are seen, it is immediately clear that Sazdovski
insists on firm and concrete problematising of the sculptural experience of
the treated materials.
Plasticity of conceptualisation, tactile reduction in abstract, symbolic and
associative forms, elementary craftsmanship of the used material being
always consistent and discarding any surplus/shortage in the expression of
the basic character and author’s sense of the shape; accuracy, primary and
clear sculptural form and consistency in the formal composition.
His previous exhibitions have been always based on clear settings strictly
moving in the framework of the chosen material and its visual-spatial shape.
Sensuality is reduced to calm expression, to the nonexistence of an
‘accidental’ trace and in rational suggestivity which, most often, is
threaded with rounded plastic structure moving from outside to inside. There
is no tension regardless the used material (marble, stone, tree...), even
when works realised through different materials combination in their
compositional shape are at stake.
In the work of Sazdovski only clear plastic acts and materialisations exist,
occasionally expressing certain decentred form, but again, even that content
is harmoniously, proportionally placed in the orderly framework of the
formal, high quality plastic solution.
In his latest, grand dimensions achievement, Sazdovski goes a step further
or, creates a spatial show, which, in its subjective context, is completely
different from his previous experience. Namely, “Differences’ is closer to
an installation combining different/counterpoised materials as to
Sazdovski’s previous deed such as marble granite from one side and plexiglas
from the other...
This exhibition is now in a complete synergy with the space, the interaction
between the viewer and the work gets a certain engagement and, in utmost
relation to author’s work, obvious is the mutual interaction of different
structures of same or differing materials and their combination in specific
, formal relationships and proportions according to the personal idea and
The author here simply dissects his compact “ideal” and rhythmic experience
of the sculpture as a compact plastic structure from the tradition of the
sculpture liberating it in an “object” made of different and “confronted”
materials. As a stepping stone for this spatial composition the author takes
his sculptures names as “Differences,” exposed in New York USA and Berlin
Germany, made of the combination of marble and granite elements with
“pieces” of plexiglas.
According to the author, the subject of “Differences” results from the
intersection of natural materials made of sedimented, differing substances
such as the marble as calcium made remnants from fossilised organisms from
the bottom of the seas and, on the other hand, there is the Plexiglas as
industrially made material.
In this exhibition, constantly present is the author’s attention as to
the relation visible/invisible, present/nonpresent, transparent/nontransparent
in relation to the used materials.
In all these objects we may read metaphorical contents but also, being
perhaps even more important for Sazdovski, is the sculptural spatiality as
technically aesthetic process preoccupying the author in the work on the
very form. In his latest work he maintains a certain universal relation such
as the symmetry in its already diverse approaches towards the sculptural
disciplines and links with the materials.