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Zoran Poposki ‘s Journey of Desire

from the review...

Zoran Poposki ‘s Journey of Desire

Looking at Zoran Poposki’s formal artistic language, it’s easy to determine the relations with certain abstract  directions of modernity (action painting, gestural painting etc.of the 1940s, 50s,60s).He conveys his thoughts through emblematic strokes which create optical effects-results of the color range he willfully chose to pursue. He insists of the speech of primary colors, especially blue.

However, it is Jackson Pollock’s language that we discover first, in the way of fully conquering the surface,a moment when painting becomes a fully integrated object, whwn the painterly is of primary importance.One also notices distant echoes of Joan Miro’s “Constellations”, than Wassily Kandinski’s experience in using a single background color,and often the stile of Sam Francis which retains the “traditional” idea of composition.

Bit in Poposki’s abstraction, which is close to the 1990s one(topical and defined as “survival of abstract painting”), is precisely the “story”.In it he inserts those emotions which reflect certain spiritual,intellectual or cognitive moments that confirm the closeness with the process implemented by the aforementioned painters, especially with the act of creation of the color field.Thus,for Poposki, conceptualizing a formless configuration(accepted as “free” abstraction) goes not only to support the realization (as a concrete artistic, technological or media process of creation of the artwork), but also causing visions of metaphysical orientations( especially important for the abstract expressionists).

For him the paintig is the exaltatin of being, and that’s why he insists of avoiding three- dimensionality (to emphasize the superficiality of today’s world), as well as on crevices and margins-subtitles for a number of paintings in which there’s glimpse of a certain control of emotions, while action has been “banished”to the margins of the work.

Lastly, one can conclude that the level of reading Zoran Poposki’s pictorial achievements satisfies the “code” of  both modernist and postmodernist phenomena.

Marika Bicvarova Plavevska