Bozidar Damjanovski

Damjanovski selects and varies the myth with the type and duration interweaves it with transience, physical disappearance. Notes about ancient times that have us reach out and used as an important document and inevitable. Given that he is the great artist who rule with extraordinary technique of image realization from his work captivates easiness and precision of telling.

Only at first glance it might be thought that the narrative is something that binds the attention: contrary – facts which I emphasize are primarily visual symbols, require observers unitary design, recognition and finally the conclusion. And there is an important layer in which memory and skill of empathy prevails.

Only then can understand the poetics of this artist in which pungency alternates irony, pathetic genuine optimism. It has almost Children’s chastity in a game that presents to us, on which remind us and with which tries to awaken us from lethargy, stereotypes, indifference. Personally, I’m very pleased that the funds are used, primarily art, painting. Which it comes to successfully discovered the simplicity. No matter how looked that methods of citations directed to knowledge that it develops the understanding of Bozidar Damjanovski painting, the impression remains that even without the correct interpretation can be reached to conclusion and personal preference.

– At first glance, it looks as in creativity of Damjanovski there is no passion. But it is only at first glance.

In his works there are a lot of passion, a lot of ironic in everything he created.

 And this is exactly the classic question: Whether Daumier loved their bourgeois when he painted them as thick with noses like some bird’s beak … Certainly that he loved them, because it would not have been dealt with. Bozidar Damjanovski not ironies because he wants to confuse. Damjanovski knows what to draw is not just skills that is in that vicious circle between the eyes, hands and mind. No. This is something more. This problem is an extraordinary reflection of seepage into the beyond, because none of his paintings can not be just as convincing. It can, but with a lot of words.

It’s easier to return it with sense in actuality, to the present.

 

Bratislav Ljubišić

13th July 1994