My name is Zharko Basheski, born 1957 in Prilep, Macedonian sculptor and professor on Faculty of Fine Arts in Skopje.
The interest of my work is turned towards the human, hence the interest in hyperrealistic approach in shaping the concept of the work, which in the theoretical projection exceeds hyperrealism, talks about life and the world in which we live.
In my work there are several elements which are new to the world of sculpture and that make his latest work different: the concept, contemporary views of human condition through self observation, technical production and use of new materials (resin polyester, poly-marble, silicone, natural hair), the hyper- realistic treatment, size of the work, the philosophical approach – all of which, when combined in one, offer a multilayered reading of the artwork.
I'm currently a member of National Board for Accreditation and Evaluation, Senate of UKIM and Inter- University conference. From 1999 to 2009 he was head of Department of Sculpture at the Faculty of Fine Arts. My work has been presented at several international exhibitions. I've also been the recipient of numerous awards. Many sculptures of min are currently in private collections, some in the country and some in foreign countries and museums.
Projects
- CRUCIFIXION, 2006The sculpture Crucifixion is perhaps only the end of a story of this chapter in my art legacy. This scene depicts a man in a pose of crucifixion, but upside down, as the scene of the crucifixion of St. Peter. Following the life path of this saint, in hyperbolic manner Basheski conveys the human conditions of daily crucifixion in the name of truth, offering also elements of self-denial and self-sacrifice as a path to a fair reward because where is death, there is life (resurrection).
- TRANSFORMATION, 2004My further work - Hezekiah, (replica of previous work) differs from the remaining sculptures and cycles in the approach to their formation. Here I'm using of polymer and silicone, while there is noticeable transition from classical realistic monochromatic (white) form to the hyperrealistic form. Sculpture suggest transformation of the dead material in seemingly live human body. This transformation actually speaks, in its own way, about the beginning of the awareness or the enlightenment of man.
- SELF-KNOWLEDGE, 2016My works Self-knowledge and Facing per se are not part of the aforementioned cycles; nevertheless, they follow the line of the visual, and also conceptual rhetoric that I use. "Self-knowledge" represents a double figure glued at the hips, like Siamese twins - one asleep, the other with open eyes; as such, they are reflection or gleam of the very recognition, knowledge, and awakening of man in this world. The two sculptures making up the installation "Facing" offer rendition of two figures in spasm, situated in the fetal position, and with their arms in self-defense; they only represent the realistic picture of the horror of this world, conveying man’s need to defend against natural disasters and against man-made disasters, and even the need to defend from himself.
- BEHIND THE LOOK, 2014The interest in scenes and characters from the Bible is also immanent in my artworks, as seen in cycle called "Behind the look" and this is the paradigm of the historical themes that recur in the current social developments globally. The approach to the plastic molding retains the line of hyperrealism in creating the work, with a pronounced care in the representation of the emotions of the characters, an interest in photographic conveyance and precision in shaping the details. The three sculptures David, Hezekiah, and Thomas are meant to paraphrase the fate of man from the beginning of his existence until today. David is a parable about the power of man, but not about his strength, but the power to face the reality where the power of mind prevails over the brute irrational strength. The life of Hezekiah is the fate of man in his exile, and perseverance in the struggle to survive in what is believed, and his quartering by those with a different view of the world. The disbelief shown by Thomas, who wanted to be assured of the resurrection of Christ, is the need of man to personally touch things, and to believe in them. This speaks of the doubt, which is a prerequisite for trust, but also of doubt about ourselves. By touching reality, we become aware of it, but also of our own existence as such...
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Work history
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SculptorUniversity
Skopje, Macedonia (FYROM)Freelance
I currently work in my personal atelier, in a place near Skopje.
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TeacherUniversity
- Skopje, Macedonia (FYROM)Full Time
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Skills
- Sculpture
- Sculpture Design
- Sculpture Installation
- Concept Design
- Art Teaching