Home          Exhibitions          Past Exhibitions          Artists          Contact          Links

 

      2016                                  

 

Desi Deneva

Biljana Bakaluca

Darko Moraitov

 Sofija Grabuloska 

Ivan Ivanovski 

P.A.Sazdovska & S. Sazdovski

Petra Jovanovska

Marija Sotirovska Bogdanovska

Maletin & Marko 

Zoran Iliev - Roger

Vucic Cetkovic

Björn Dämpfling

 

 

 

30.09. - 25.10.2016
What happened with the expressive drawing?
Sofija Grabuloska

 

 

 


   

   

   

 


The subject matter of this research is experimentation and explanation of the creation process when a three dimensional object is created from a two- dimensional drawing. The drawings in question are expressionist and with emphasized contrast, black-white. The modern, innovative 3D technology makes creation of these three dimensional objects possible. The basic experimenting tool is the Cubify printer which creates the objects. 
The aim is to show how the 3D printer may become the new tool in Art. The new thermoplastic materials will introduce new texture, volume and will give more weigh to the words of Art. This means that originality will gain a new face.
The use of 3D printers in Art overcomes the restrains and rules in sculpture but it stays within its realm nevertheless.

Sofija Grabuloska

***
The project itself is in the zone of dimension determination in the codes of which we discover a specific balance between the sculptural and ambient approach and the non-typical for her, and gesture like interventions - calligraphic records, where the black and white contrast is primary.
The paintings records are laid just over the fundamental components that have the function of initiating plasticity by the pointed object elements. The complete visual angle of view is quite tightened although there are several elements in separate parts of the floor composition installed, because the wooden links between the two panel boards (30x30cm) is 7cm.
The upper board replaces the canvas. That particular moment raises a question of whether her closing idea was to perceive the work as a floor or a wall installation, unusually designed views that can confuse or redirect viewer’s attention. For her the pure surface is less important asshe is applying the object parts over, coming from the intention to satisfy structural and final solutions.
This way, Grabuloska plays with the postmodern clause of broadening the language fund. In the work process she even wants to defocus herself from the function of concretely designed objects, that actually are creation elements of the individual but also of a compact view. Is it about a spontaneous connection to the meditative expression that is looking for experiencing of such conception of scenery?
After this, next is the conclusion that there are associations in it, according to the author, to Japanese scenery, reaching of harmony of the work, that in itself it has features of more layers. They have been verified as final effect where the conceptual discourse is recognised in the adapted principle of visual interpretation of the individual sophisticated transferred impressions. Therefore it is easy to conclude their equality to the desired degree of “message” transfer, i.e. retelling the “story”. The link, according to the final setting is coming closer more to the formal logic because this relation is relevant to the author, but only as an element of making concrete the primary concept, concentrated on the sign, rather than entering into some differently understood spiritual syntagma. They could make complicated the perception of this, in its core, simple setting of viewing and reading to this artwork.

Marika Bocvarova Plavevska