These featured works were recently exhibited in Skopje and were praised for their departure from traditional representations of the human figure in Macedonian sculpture. They are ‘not impressionistic in their execution, nor anatomically overemphasized, nor do they belong to ‘new realism’,’ explains critic Maja Cankulovska-Mihajlovska. Rather, Baseski’s work is hyper-realistic in every way – size, material and treatment.
These three works represent three types of man: the ordinary person, the artist, and an imaginary portrait. Baseski often links his works to the idea of self and the human; the portraits are realistic rather than idealised, and reflect on the struggle of man through life, the conflict between the personal and the public.
‘The story told by each individual figure starts with the resilience of man emerging from the ground (defined as mother-earth or environment) which, through/with the collective subconscious (a metaphor contained in the historic imaginary figure), come together in the tension and uncertainty reflected in the ‘small character (the author, the creator). In all of them together, as in every individual portrait, in different ways there is a strong reflection (even poetic) of dramatic tension which suggests anticipation, and the psychological moment is underlined in relation to the usual hyper-realistic process of strict photographic, unemotional depiction and interpretation,’ suggests Cankulovska-Mihajlovska.
Via Sweet Station.