#1 With his digital graphics Ladislav Cvetkovski revokes the stationary nature of his figurative symbols, he revokes their thematic recognisability. In their place, that of the traditional hierarchy and mechanical gesture, Cvetkovski uses the visual multilayeredness of the electronic space, a virtual description in which the very reading of the digital compositions themselves is more ‘topographical’ than thematic from a certain point of view.
#2 Thanks to his computerised method of operation, Cvetkovski expands the graphic symbols on the digital level towards a pure linear course; he extends these into structures and expressions that sever the traditional classifications of the graphic print. He creates experiences of semantic networks, where the linearity of their significance moves towards a pure process of endless associative links, creating transformations from no one theme dominating over all the rest. In place of spatial and direct treatment what we have here is mental and digital treatment. The distinction between the artist and the viewer is reduced, as is that between the shaper and the user; that is to say, there is a possibility of their mutual relocation in the interpretation of the work, a work which becomes the reality of mental mirrors.
#3 Cvetkovski’s control of the experience of digital graphics itself becomes a varied game. Instead of recognisable strict subordinations and substitutions, these graphics are a combined digital interweaving of a multiplicity of equally valid meanings and movements, a despatialisation of the view of the traditional medium in the reading of the interlinking and mobility of the electronic signals themselves.
#4 His graphics unceasingly produce mobile codes, the function of which is to be fluid, ‘concrete’, in their varying stratification, to be effects of uncompleted lines, to be in motion. The fragmentary forms, their alteration and mutability in the fragmentary places of their combined texture, the structuralisation of the artist’s ideas within the semantic possibilities offered by computer ‘principles’, that is to say the principles of free contradiction and sufficient cause. The multiplicity of relationships and activities that can be interpreted apart from their ‘given’ elements. In this fashion not only is the creative ‘space’ changed but also the method of reading it, that is to say we receive different experiential modalities in the process of our mental reception of the visual.
#5 Cvetkovski’s work is no longer the visualisation of thoughts but the mentalisation of the coloured and abstract spaces, an intensification of the metaphoric quality of the drawing, of segmentary shots and the extended figurations as a whole, an emphasis on the dislocated freedom in the artist’s experience of what is signalled…
#6 In Ladislav Cvetkovski’s digital transcripts we have redefined relations to the classical medium, relationships full of ambiguity and the ambivalence between the viewer and the artist, a dynamic and montage-like conveying of private moods and impressions from reality in the digital process of signification.
Translated into English by: Graham W. Reid