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
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.