Tracks of time – somwhere in my minD 2 – Marijeta Sidovski

TRACKS OF TIME – SOMWHERE IN MY MIND 2
Marijeta Sidovski

April 29, 2005 -May 5, 2005

The latest achievements, judging by the talent of the young and righteously self-confident and ambitious T Marijeta Sidovski the author, who has not just simply appeared but has also been noted on the Macedonian fine arts scene, most directly link her artistic works with which she announced her potentiality at the very outset and thus distinguished herself from the over-satiated variations of various pseudo-style surrogates and trends.
The already quite blurred heterogeneous, sometimes too tolerant and uncritical fine arts situation from the end of the last century, which is also encircling the end of all “great stories”, gives the right only to those rare people who make problematic some of the efforts of the present moment to rise over the ruling technical and technological methods of visual practicing and thus defend, allegedly trivial, meaningless, nearly unnoticeable, more precisely rejected “old stuff”, to articulate an innovative fine arts language that will actively communicate with the challenges of the time. The a priori determination to avoid the classical understanding of the painting, including here first of all its bi-dimensionality (which is noticeable as back as in her early achievements), indicates to the necessity for tracing an absolutely unstoppable freedom of the spirit oriented towards a daring research in the modalities of experimental existence of artistic work in regard to overcoming the context according to which we recognize the traditionally understood artistic shape, but also not the less important expansion of the discourse for using different materials of exclusively natural origin and their combination.
The search for new spirituality dictates nostalgic intonation of accumulated experience in finding the starting impulse contained in the impressive fragments of our existence that has retained the coating, the codes of the spirit and sensibility, docility and meekness, excitement and permanence, warmth and gentleness of the climate. Staring at the secluded places just across the urban buildings, the author finds out what is indispensable for making her creative agent tremble and fill in her blood vessels.Old, rejected, forsaken and dilapidated, but magically attractive windows that are no longer in function, represent the initial motif for the materialization of Marijeta’s harmonious objects. In this way, a joint happiness is accomplished – for the window, doomed to slow but sure decay, to come out from the exhausting deep dream, and for the author who has the possibility to reach a full authorship delight.
In the joint giving up to the inspiration and appeal to the spiritual forces of authentic meditation, captured irresistible radiation of particular spiritual ambivalence is evoked.
Thus, a multi-folded plastic and mobile structure is accomplished with luxuriously rich range of an artistic form in which the echo of the quiet speech of the material corresponds with the unbreakable link that is selectively incorporated in the tissue of the object (hemp, branches, stones, planks, metal nails, and so on). They are now reincarnated into a perfect aesthetic shape that they have been dreaming of. However, as the iconostasis is not there to restrict and close down the clearly distinguished line between the praying space and the altar, so are Marijeta’s windows-objects in the function of bridging the objective dull and spiritless reality of existence to the sublime, receptive in revelation, as well as to the primordially desired artificial sanctuary that the author suggests with the general visual fascination.
In them, in an incredible, skilfully synchronized, restrained and dignified way, with rhythmical refined amplitudes, the mystic depth and lyrical sensibility, non-pretentious, spontaneous, pre-primordial arheomagical inspiration and skilfully staged tone of modern reality are intermingled so that these achievements, according to their analytical systematisation and cleansed fine arts perfection are received like a magic, nostalgic and poetic experience.

Goce Bozhurski