Sinisha S. KASHAWELSKI
Born in 1969 in Kumanovo, Macedonia.
Finished a College of Applied Arts in Skopje, Macedonia, where he also graduated at the Faculty of Fine Arts
A member of DLUM (National Artists Association of Macedonia)
A member of ,, Societe des Artistes Francais"
A member of ,, SOCIÉTÉ DU SALON D’AUTOMNE -Paris "
A member of Académie des Arts-Sciences-Lettres de PARIS
A member of "MONDIAL ART ACADEMIA"
An author of many individual projects and exhibitions in Macedonia and abroad
1998 - "Konstantin Mazev‚‚ painting small format КИЦ Скопје
2012 - "Medaille de bronze ‚‚ Salon des Artistes Francais /Grand Palais /Paris
2013 - "Medaille d`argent,, Salon des Artistes Francais /Grand Palais /Paris
2014 - "Medaille d`or,, Salon des Artistes Francais /Grand Palais /Paris
2015 - "Medaille d`or,, Salon National des Beaux Arts / Louvre / Paris
2015 - "Dimitar Kondovski" DLUM (National Artist Association of Macedonia)
2016 - ''Prix ADAGP '' Le Salon des Beaux Arts / Louvre/ Paris
2016 - 1st PRIZE WINNER of PALM ART AWARD / Germany
2017 - 1st Absolute Prize in the Paintings section / Marchionni Prize / Italy
2017- Kitz Award 2017 / Austria
2017- International Prize Andrea Mantegna / Mantova / Italy
2018- TOP 10 Artist of the Year Award from Circle Foundation /France
2018- Winner of Art Expo Venice / Italy
2018- Giulio Cesare International Award/ // SEGNALATI in Rome
2018- Golden Medal of Merit and Contribution to Art in 2018 by French 'Société Académique' Arts-Sciences-Lettres/ France
Commissioned to do a number of paintings for Museum of the Macedonian Struggle-Skopje , Macedonia
Commissioned to paint the ceiling of the National Theatre in Skopje Macedonia
- Lives and works as an independent artist in Kumanovo, Macedonia
-My art is predominantly based around surrealism, finely knitted with
motives which come out from the reach Macedonian tradition. My works unite
elements structured of realism of the old masters coupled with surrealistic elements
structured around our past, present and future. Most of my works are done in
oil on canvas, however I do endeavour to use my skills in producing icons on
wood done in the very best traditional Byzantine style; something that is
still present and well preserved in my country. I also do mix media works
staging both traditionalism and surrealism.
At the center of Sinisha Kashawelski's visual analysis, we find man and woman.
Men and women, who have always been "investigated" in art. They are trans- formed
into the representation of precise states of mind. In those I want to define his
"whisperings of the soul", the artist bears witness to his most tacit emotions. The goal of
art is to get excited and excited. The figures of Sinisha are living creatures. People who
know the gardens of Eden, but at the same time sink into those infernal depths from
which sooner or later we must go up. At the same time, the artist paints enig- matic
figures that travel through new labyrinths of knowledge. Real visual enigmas d here by
the artist. Enigmas whose solution lies in the genius of his mind. An artist able to
delineate a path that has in the complexity of the sign its start ing point. A visual
pentagram to be read with great care in order to catch the right shades. A new visual
alphabet whose symbolism conceptually refers to the complex ity of the human intellect.
Ideally the artist takes us back to the labyrinth of Knossos in which Theseus aims to
unveil the enigma of the Minotaur. Kashawelski's painting is a painting that strongly
screams its truths. A painting able to fascinate the distracted eyes of the spectator. His
figures go to occupy the canvas with great sign and lin- guistic harmony. They are
figures projected in silent settings, in a suspended time that come out with great force
Art critic / Italy
Painters Who Just Painted While The Art World Burned
“Art doesn’t give rise to anything in us that isn’t already there. It simply stirs our
curious consciousness and sparks a fire that illuminates who we have always wanted to be.
” Kamand Kojouri
“I do not understand why, when I ask for grilled lobster in a restaurant, I'm never served a cooked
telephone.” Salvador Dali
"One can show one's contempt for the cruelty and stupidity of the world by making of one's life a
poem of incoherence and absurdity.” Alfred Jarry
Dali once said that it was because people love a good mystery that they like his paintings. It is
also true that literal reality is just a meaningless bore without interpretation that creates a personal
visual language unique to the artist, dreaming his own reality. For some, like Dali and other
Surrealist painters, visual content should be an incoherent game , where the viewer connects
symbolic dots, like a rebus, and finds meaning through a greater visual whole assembled with
various incongruent parts. The narrative becomes a pure sound emanating from what can seem,
on the surface ,as nonsensical cacophony. This is the painters realm of intuitive lateral thinking
that offers an answer to the questions that literal reality asks.
For Macedonian painter Sinisha Kashawelski, the act of painting is a magical journey
where , when in tune with core human essence , powerful visual imagery can connect the viewer
to things not easily readable through surface vision. Kashawelski uses the game of surrealism to
paint iconic imagery relating to social and political issues. He creates a mystery to be uncovered ,
using intuitive perceptions based in factual inspirations. His paintings are almost always single
figure portraits of subjects carrying a larger message than just themselves.
Kashawelski defines his process.... "My themes are always different, and in the majority of the
cases, they are in the function of my inner world. Every day brings a new theme, would it be in a
form of a thought or a ray of light that penetrates through my soul. These components form the
nucleus of what later develops as an idea that goes onto the canvas. This process has a strange
and unpredictable flow. The individual pieces of the mosaic are all into their place
forming a harmony that can be visualized by the eye of the audience. Everything starts with some
kind of provocation which develops a desire to entertain it. While working on the mental sketch I
get engaged into some mystical world, which sometimes is hard to explain. The idea born drags
you slowly in and it opens the ways that lead to the end of the journey. By the time that this magic
is happening, if you feel your true emotions and you manage to connect with the unknown cosmic
vibrations, you are on the path to get a good piece of painting "
Sinisha Kashawelski is a sensitive , insightful painter who is committed to bringing attention to
human problems, by challenging the viewer to see or recognize the solutions. As a painter he
follows creative instinct , knowing that transformation is the goal.
Poetic Symbolic Realism of Kashawelski
The exhibition of Sinisha Kashawelski is a result of the artistic practice of a time period fulfilled with hard work and dedication to his own concept. The rational act is a part of his temperament, while the knowledge of his artistic technique couldn't be acquired at the Faculty of Art in Skopje because it comes out from his affinity and dedication to ‘serious’ art.
The central theme in his paintings is the human body, in particular the woman’s figure or act, whose visual meaning is complimented with a choice of elements from the author’s intimate world or they've universal symbolic register of presentation. Kashawelski paints applying a precise descriptive drawing. He insists onto the perfectionism of the detail and the serene harmony of the whole. These presentations of the human body with their plastic expression are a tool that gets the final result in a wider thematic contest. The body may get symbols of some worshiped subject and to manifest its ideal of beauty, always followed with some coded attributes of the material folkloric world and tradition. The invention is not only seen in the positions of the figures, but it is a base to the direction of the artist towards the interpretation of the human body and its sporadic elements which provide some other contest for different suggestions.
Kashawelski doesn't deform to become more expressive. He achieves the inner expression with a precise retelling and description which doesn't get away from the objective ‘ugly’ or ‘beautiful’ into reality. What happens to the space on the painting? Taking in consideration the central meaning of the motive, spread in the middle of the painting, however decentralized with a ‘play’ of some other elements, the space is determined with the plainness of the background which is not empty because it is clearly determining all the relevant meaningful elements. The figures are frontal. The plastic presentation of the figure is sometimes combined with the flat forms of the clothing which differs from the presentation of the material objects. The figure is a center of the crystallization of his/her aesthetics and energy of expression, all followed with some ‘light’ esoteric suggestions. The figures are usually taken from the author’s close intimate world, and their preciseness ‘competes’ with the photography, however seen through the prism of a lyric experience. These aren't connected to the photo-realism, which by the way is a variance of the hyper-realism, nor to the stiff, lifeless academism. We’re not trying to cite anything, but in these paintings a curious eye can see elements of the realism (Grant Wood, Wyeth and Odd Nerdrum), surrealism (not as much Dali as Margite), symbolism (Neo-classicism to Art Nuvo) and element of naturalism (a more serene variance compared to the one of Lucian Freud).
Kashawelski uses pretty known examples such are the iconoclastic presentations, however he is trying in these icon-o-graphic solutions to enter some new elements and meanings, giving it some unusual contest to his artistic presentations.
In his artistic allegories and symbolic presentations a particular place is given to the material requisites as well as the motives such’re apples, pomegranates, gold fish, sequel and hammer which are not carrying ideological or political message but are trying to catch a feeling of ironic interpretation of the well known themes or the sarcastic tone of the ‘comics allegory’. The text of ‘Vita Nuova’ of Virgil or ‘Leave the hope here...’ of Dante’s Inferno is actually an annunciation of the new cycle of paintings that will follow.
And for the end. Kashawelski makes some works against ‘the desert of the soul’, against ‘the death of the nature’, answering the eventual question is there any sense to paint in this fashion. In Kashawelski’s paintings all is real and this is why he achieves an effect of i-reality, getting away from the ‘ugly preciseness’ of hyper-realism towards some art that even today is not anachronistic or surpassed. He is sharply, clearly and very openly composing his paintings and ‘gives’ and ‘takes’ from the nature what she lacks, confessing a particular kind of Mediterranean symbolic realism.