Numeration - instead of a title, Prints Geometrical Preface - Ivanka Apostolova

NUMERATION - INSTEAD OF A TITLE

1. “.................................” = meditation
2. Sonja Dimovskas`s artistic geometry presents the author`s interpretation of the gray suprematism and old constructivism.
3. The idea is realised trough the character of aquatint and etching is being used, as well as drypoint.
4. The blind embossing is an echo of the emotion; it becomes a relief landscape that can be touched.
5. And an unexpected piece of velvet that takes us to another story.
6. This time the printwork envolves and takes up the frame. Together, they are a composition.
7. “.................................” = meditation
8. Vertical geometrism - a thought that rises.
Horisontal geometry - a state of the senses.
Diagonal geometrical shapes - a passion that disperses them.
9. Occupation in black - purification in white.
10. Super ego - rectangle / square. When it is big, it is present all over. It gets ideas in its "head". Somethimes it is the base, and somethimes it plays around. Turned up - side down it curves, and as a punishment it is put in a corner.
11. When it is chopped up it becomes a miniature, which captures the expression. A slimy five - line stave streches trough it.
12. Alter ego - is the circle of the woman. Wide and soft. At the beginning the circle touches, sometimes it floats and multiplies.And at the end it is pierced and gone.
13. “.................................” = meditation
14. The triangle is a surpassing shape; it has it all in itself and triumphs over it.
15. The colours are stray chromatism. The colours are a new energy.
16. Author`s dots are here to play with the printwork. They overhang as a perforation or they only leave theri silhouettes. They embrace the elements and the signature, imposing themselves because they exist.
17. The aim of this printed situations is to show the conflict in this two - dimensional performance heavy with alternating movements and overlappings. Just as competition on the theatre stage.
18. ( to draw a dot )

IVANKA APOSTOLOVA historian of art
( Preface from the catalog of the exhibition of prints held at the Gallery in Youth Cultural Center in Skopje, December 1999. )

Prints Geometrical Review - Ivanka Apostolova

DOMINANT DOT / DISPLACED DOMINO

If we call the art media a graphic initiation, the archaic phase of which is encircled by graduation, we come to a conclusion that a female constructivism has been disclosed on its creative surface.
The elements in the printworks are a geometrical document of a long process of disciplining.
The heaviness of the private chaos, the doubts about the level of authenticity, love incidents and accidents are finally chopped up in order to be “re-educated” into a printed series.
The body and the soul of the blind embossing, etching, drypoint and collage paper have experienced achromatic and symphonic arising of this graphical mix.
Now, brought to its senses, the compositions inflate themselves in a circle; they have been straightened up in a square. And the flirtatious exchange between the keys (which deceive us as being rectangulars) and the dots (which are imposing slightly as an arc or sharply as a line) finalizes the “melody”.
And in a female-like fashion, as an ending, this kind of logic is thrown upon the asymmetrical passe-partout. A three-dimensional image is coming to light!

“......... only the dots are chromatical or the womanhood is awakening.....”
As the author would say ( in the context of the forthcoming exhibition):
“My dots have grown up; I`ve had enough of the tiny little dots”......

IVANKA APOSTOLOVA Historian of art
( “ Student word” 17 November 1999)

Prints Geometrical Review - Zorica Lojpur

At her first solo exhibition in the Youth Cultural Center’s Gallery (graduated in 1998 at the Academy of Fine Arts Skopje ion the class of Prof. Dimitar MALIDANOV) Sonja Dimovska was represented through 18 printworks, created in combined techniques, e.g.
aquatint, drypoint, blind embossing, etching, mixed with one truly subtle method like the intervention on the prints’ frames. One may speak about one unusual woodcut which implies the multiply values of the prints this author creates.
Speaking about the presented cycle of prints, I can say that this cycle finds it objective in the domain of geometrical abstraction. It implies the method through which the author expresses her plastic, artistic conception, including the techniques’ choice through which she tries to create a completely new reality based on pure artistic harmonies.
Understanding the abstraction as autonomous plastic language of expression, Sonja Dimovska comes closer to the suprematism of Kazimir Maljevic, who aims to pinpoint his own theory of “pure abstraction”.
And while Maljevic in 1913 exhibits black “perfect” square on white background as the essence of his thoughts, Dimovska, from this postulate, starts to build up a new, her own formal structure, which offers never-ending possibilities for various combinations and new meanings.
Dimovska, at first, through her “Num. 14” - “black” printwork, points out the way of movement through the gallery, and, through the carefully shaped picturesque entirety.
This movement generates a process, a mental and spiritual transformation, which through the power of this authentic art, brings to purification, which, as for myself, represents the starting point while experiencing this printwork’ opus.

21.12.1999. Skopje
Zorica Lojpur - Historian of Art, Editor of the Fine Arts Programme within the Youth Cultural Center’ Gallery Skopje.