The kingdom of words to be replaced by the kingdom of silence
(William S. Borroughs)

The visual theme has always existed as a formal means of expression, as a means for some deeper creative motives for such act. When these motives are missing there is a simplified mechanics, rational combination which is usually named as style, evolution of creative ideas etc. Nowadays, it is more than evident, that such categorization of the thematic as realistic, surrealistic or abstract is irrelevant from a creative point of view. In this context, the newest printworks by Sonja Dimovska resist a certain categorization in style, which is; among other reasons, due to the authenticity and the technical and technological features of the printmaking as a medium.
To claim that the insects exclusively comprise her thematic content is also irrelevant. The recognition or the non-recognition o the visual theme as a motive is a relative, changeable and non-significant factor even though it presents an opportunity to approach the shape. Yet, the meaning of the motive is not a primary factor, but the motive is a pretext, a means by the help of which our attention relates to the shapes and encourages us to a more profound insight into them and their essence.
An analogy between the changes and the process of the insects’ metamorphosis and the changes of Dimovska’s creative course can be made.
Her past work characterized by minimalist, geometric and slightly cold compositions has evolved into abundant, etheric graphic works just as the larvae undergoing the process of metamorphosis become magnificent butterflies.
Carefully avoiding the trap of the saintific-factual visual interpretation of the subject, Dimovska successfully penetrates into the deeper aspects of the dynamic physiognomy of the life around us – various insect species represented either still or in motion, but always in a certain contrapuntal correlation with the surrounding that is mostly abstractly represented (although floral motives can be recognized in some of the printworks). By multiplied display of successively graded insects into a diagonal composition the author suggest certain kinetic features typical of the cinematic language and the comic.
Dimovska’s approach to the insects’ (re)interpretation is fully functional. According to her, the world of insects is so perfect that any visual interventions (size-hyperboles, stylization) are redundant. She treats the insects with an almost zenbuddhistic simplification, thus avoiding to distort their microcosm with a certain west-European egocentric manner of observation and visually aesthetic vivisection.
Her treatment of the motive even has psycho-therapeutic effects. Namely, long years before the commencement of her newest opus, she has been suffering from irrational fear of any kinds of insects. But after she started to closely examine their fascinating universe not only had she surpassed her enthomophobia but insects have become her major creative preoccupation.
Dimovska maximally utilizes the traditional techniques (line etching and drypoint in respect to the drawing, aquatint and mezzotint in respect to the tonal relations and ciaro scuro... ) which enable her a minutiae handling of especially the treatment of the insects’ armour (brightness), wings (transparent), floral motives (texture) and alike. Her endurance and devotion result in graphic sheets whose visibility, shape and volume offer the recipient’s eye recognizable things, but then with the sense and the cast of the visibility they also announce a universal world law to his spirit, something that refers to both the human existence itself and the whole universe.
The newest printworks of Sonja Dimovska will make us re-examine our indifferent attitude towards the insects and to try to hear the scream of the butterfly (Jim Morison).

Atanas Botev