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Artist Statement:
Born in 08 11. 1972. Graduated
at Fine Arts Academy in
Skopje, in the class of the
professor Simeon Shemov,
speciality: hand made paper.
He`s a winner of the prize for
the best painting "Borko
Lazeski" 1998.Finished
post-graduate studies of
painting MA degree at the Fine
Arts Academy in Skopje,
Macedonia. He`s a participant
of many group exhibitions and
art colonys....
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Artist Exhibitions:
1996 - "Curriculum
Vitae"meadows in the City
Museum-Skopje, Macedonia
1997 - Open Studio-Artistic
Shaping of Space,Youth
Cultural Center-Skopje,
Macedonia
1997 - Book Art & Mail
Art-Skopje, Macedonia
1998 - Traditional exhibition
of DLPUV- Veles, Macedonia
1998 - International Art
Colony "Cosmic art"-Vojka,
Yugoslavia
1998 - Art Colony "Veles
98"-Veles, ...
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Artist Galleries:
His works are include in many
private collections in
Macedonia, Germany, Sweeden,
Portugal, Bulgaria, Australia,
Italy...
Further Information
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Collections:
Coming Soon!
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Commissions:
Coming Soon!
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Reviews for Bobby Stojanov:
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"MAN IN THE URBAN SPACES"
Art has always referred to certain reality in which it exists in the artistic language or in its respective phases. This dual reference to reality and to the personal medium is particularly evident in the work of the young artist Borche Stojanov. Facing his works clearly leads towards the sights of the contemporary urban civilization. His urban interests are focused on and fixed to hyper–urban vistas, spaces and ambient. The same goes for his interest in the interpretation of the artistic experience of the past, especially the nearer period of the 1960’s,namely, the pop–art and the photographic realism or the hyper realism.
The development of art is intersected with numerous examples of turning towards the previous stylistic patterns and the permanent study of the previous formal systems. Art is literally studying art. Learning from its own artistic language patterns. Since the 1980’s, with the post–modern emphasis on artistic reinterpretation, many artists have reached for a certain stylistic language system fit for individual mediation at a certain moment. Within this frame, the determination of Borche Stojanov a creative game with pop–artistic and hyper–realistic art models, is yet another possible variation in applying the modern artistic tradition. Why these particular stylistic directions? The answer is simple. They are fully concordant with the artistic sensibility of the author in his recent explorations. In this phase of development he deliberately instruments the language of these stylistic formations with the distinct aim of using their artistic and symbolic potentials.
The pop–art has introduced play with the popular late–civilization culture and with its myths, symbols and signs. It has simplified the formal language to the recognizable mode of banal populist illustration. The hyper–realism or the photographic realism follows the pop–art, and stretches the access to the boundaries of perceptive objectivity. Offering visions in which the individual impulses are purified, he has offered a technologically cold image of the world, reality brought down to the impersonal photographic registration.
It is this language code of pop–art and hyper–realisam that Borche Stojanov has fully comprised in his contemporary works. The motif presented in his paintings is exclusively one of the hyper–urban space of the central city ambient of the contemporary civilization. It is predominantly the street views which background has been bordered by the enclosed urban structure and the two–dimensional settings. This two–dimensional narrowness and enclosure is packed with the every day bric–a–brac of the urban scenery by which it is constantly being bombarded, so that it turns into a particular natural–urban ambient. This is deliberately stressed by the permanent presence of the material universe which ordinariness and banality has deeply penetrated our consciousness, as well as the subconscious. There are the contemporary architectural sights and plans in it, the concrete streets and background, the glassed fronts and shop–windows, the advertising slogans and messages, human images whish presence was accidentally caught in the painted ambient etc. Interestingly, the human figures in the paintings are merely the impersonal inventory in the dry, emptied world of the supposed objectivity, the reality. Basically, we are talking of figurative painting focused on the ordinary signs and symbols of the banal arsenal of the consumer society.
This has especially been stressed in the basic recourse of the works, the angle from which the structure is presented. The position and the viewing point are set in the narrowed, stuffy space of the shop–windows, an utterly impersonal ambient. This aspect of viewing actually implies the absence of a central point of the vision. The absence of inner, subjective recourse profiles impersonal images and constructs barren spaces, freed from any traces of expressive pulsing. Everything is subdued to a cold, objective notation and registration of a petrified world in which the expressive dimension of sensitivity has disappeared. But these components are only well elaborated elements of the artistic language, a mere statement of the author. He extracts out of pop–art the symbolic condensation of popular culture and artistic illustration, and out of hyper–realism the impersonalized objectivity and precise depicting of reality.
The painting performance itself is in the function of reaching an emphatic atmosphere arising from the works. The figurative realistic expression is composed with monochrome painted spaces, areas. Pastel tones are dominating with no pasting traces left, with no play–fulness and density, on account of the neutral colored space. In a way, this artistic colorist abstraction. Such stylistic solutions direct us towards a well–studied, acquired pop–artistic procedure. This, alongside with the merely photographic presentation of the motif, uncovers the deep determination of Stojanov. We are discussing a covert meaning, which can not be revealed by the foreground of the presentation. Pointing out the impersonalized reality is not the aim in itself of the artistic expressions. On the contrary, its insensitive presentation is a distant echo of criticism and keeping apart from the spaces and ambient in which the human dimension of life has disappeared.
Valentino Dimitrovski
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