The “Expressive pictoworld” by the distinguished Jordan Manasijeski is in the core of the creative dimension of an artist, who, in his own way, brings to reality even the impossible-to-realise secrets which are deep into the mystery, simply named painting. His works of art initiate a creative artistic potential, in which absolutely prevails what is impossible to expose to our human reality. It really accomplishes the strives and attempts to make even human reality intangible and unreachable for a moment, which is a trait of the creativity and acceptance of the timeless reality, which at the artist reflects the secrets of his work and the dynamics of the inner life of the paintings.
“Holiness in a Painting”, existing by itself is a secret, because it has its own primary source that in its own way attempts to express the vision of the aesthetic quality and beauty, which poses the most significant impression of the artistic art.
His works have two things in common – harmony and beauty in a higher, universal sense that transfers energy, power and beauty of life and the atmosphere, the artistic might to transform events and moments to an absolute, universal value, using only the beauty of a single work of art he creates. There would be no other way to explain this magical power and permanent fascination in possession of these works of art.
His painting is a superior artistic reflection. Apparently, it not only poses sophisticated techniques of art and qualified knowledge, but also a creative genius, who gets realized in his artistic creativity where humans glow in fascinating vibrations: a universal beauty as an expression of emotional and sensory knowledge of harmony, sense and incredible beauty of the human and its human traits, embedded in the universe.
Beauty’s and harmony’s true knowledge beauty, nonetheless, at his works is an expression of love towards life and all living creatures.
Jordan Manasijeski perceives our world in its whole being. However, his behavior is simply warm, understanding, nice and humanely human. He is a true example of an author with a true dimension that is in any way a strong expression of an excellent artistic talent.
His aesthetic sensibility, his painting that highly estimates the abundant Macedonian and Ohrid historical and spiritual tradition based on moderation, balance, harmony, whereas sudden changes are sensible in the spirit of time, but that possesses an extraordinary consistency, thanks to its expressiveness, might and mightiness.
The rhythm of the gestuality of the whirl, the chromatic power in his works catches the sight and handles over the manner of acting without compromise by a constant artistic behaviour. Such an approach can imply liberation of the suppressed thoughts and a subconscious desire for liberation of stranded images in his mind.
Manasijeski’s work is a story of his life, a way of thinking and a daily life. His whole opus is an elixir of life and energy, introducing explosive strokes of the brush that pose losing the borderlines between the figurative and the abstract.
There are expressive gestures and a subtle sense of merging and elimination of the traditional comprehension of a painting’s limitations as a physical bearer of the artist’s vision. Art emphasizes art from a completely new, specific angle, and that is why it requires different approaches of analysis. The mere concept gets aestheticized in its own most widely embracing semantics, which, of course, implies certain opposition to the concept of the painting practice in the world of a painter, the formulations of the material elements have a different purpose, namely, colour, form, texture, etc.
At Manasijeski it is necessary to identify the silent elatedness, the one present at the artist, for a unique, with an imminent position of a creator, special and dedicated person in the field of his own imagination, spirit, consciousness, thoughts, emotions, experiences, processes leading to the paradigm of the masterful painting.
The inner structure of the consisting elements of the work of art in a general sense, the composition is taken as a whole made up of numerous distinctive pieces within the process of building images with differential equalities.
The free elements, their autonomous properties, gain meaning only within that whole, all their inter-relations and the interactions (which are practically endlessly different) fit in according to specific dominants. In a purely formalistic articulation, especially the colour organizations, their primary meaning lies in their inner value. The painting becomes only a referential structure of the visual conception’s discourse.
Zekman Rakipovski, PhD