Friday, 21 September 2018 | News today: 8

Tamed Eros


Aco Stankovski

There is a misunderstanding among the wider circle of art worshipers over the processes occurring in the production of works of art, especially the art of nakedness.

That incredibly complex system of art articulation, the concentration that the artist should fix on the model and the performance of the material, the style that emerges as interaction between the imagined and the “end result”, the fight with the inertia forces that distract and make the process of shaping painful and difficult, after all, the act of creating itself creates one agonizing experience.

The uninformed, however, initiated by their naive and romantic view of art, think that the artist is a bon vivant, who creates entertaining himself  – and there, that is what art is, especially the art of nakedness.

Probably the new technological resources for “copying” the reality, based on photography, film and video, have completely stupefied the feeling of natural shaping of things from “scratch”. As to create a vision or an object from an empty surface (canvas) or a shapeless mass (clay, stone, wood …), which will “relive” with all of its authentic splendor of its genesis. Regardless of whether it is a work inspired by reality or a product of the imagination, “crazy” efforts, which many  people from the art public in general are not aware of, are required in order to capture all its “representative skills”.

However, the brightest of them (but not professionally involved in the art scene) require references on the history of art. The others “fantasize” asking trivial stimulation in the work and, often, finding it in the most banal layers, picture the poetic sensibility. The latter are the biggest promoters of kitsch and trash.

Deep knowledge and extensive experience are needed in order to understand the value (in every sense) of a work of art. First you need to recognize the weight of the creation process through a practical attempt in art disciplines, in combination with studious consideration of “repertoire” that the art history offers. Then a long period of exhausting attempts, full of frustration. Even if there is a beginner’s success, the vast quantum masterpieces contained in art history are bringing you back in the inferior position of a dilettante.

This initiative introduction has the entire hardship of the evolutionary process with all its slowness. That is an exhausting rolling of Sisyphus’s stone. The more striking the works are, the greater the agony behind them. Even if it is a short and quick sketch of Matisse or Picasso, this dimension self-investing in art  is visible.

The brilliant beauty of the tamed Eros.