Gligor Cemerski Biography - Gallery

Gligor Cemerski, born in Kavadarci, Republic of Macedonia, in 1940. Education obtained in Skopje, Belgrade and Paris. B.A. and M.A. in Fine Arts at the Academy of Fine Arts in Belgrade in 1965; one year study mission in Paris (1969-70) as beneficiary of a fellowship granted by the French Government. Since that time very frequently has worked and exhibited in Paris. Recently, engaged on permanent contractual basis at the Galerie du fleuve, Paris.
Other study missions carried out in Egypt, Greece, Italy, The Netherlands, Sweden, Germany, USA. Starting from 1962 he exhibited autonomously and with other painters in Skopje, Belgrade, Zagreb, Sarajevo, Ljubljana, Dubrovnik, Porec, Paris, Rome, Alexandria, Istanbul, Sofia, Prague, Gratz, Bucarest, Moscow, Madrid, Copenhagen, Mexico City, New York, The Hague, Dublin, Belfast, Glasgow, New Delhi, Barcelona, Wilmington, N.C., Fayetville, N.C., etc.
He designed several huge monuments in Skopje, Vrutok, Kavadarci and Kocani. As an author of this type of complexes, he created a 500 sq. m. mosaic. 
He has won lot of national and international rewards.

The Fever Overcome

“Chemerski attacks each canvas like a fencer , jabbibng at it with deft strokes until the image takes shape out of a welter of brushstrokes.”
Anthony F. Jensen, 1998

It seems that the good climate in Wilmington N.C. agrees perfectly with the painter Gligor Cemerski and with his painting. The lushness, abundance and the kind of a somewhat prodigal richness that this painter undoubtedly takes everywhere shoot up with a sort of unstoppable luxuriance. The apple trees from his part of Bald Head Island burst with vigour, the women depicted through their original mother, Eve, swell from fecundity. I once wrote about his “Wilmington Fever”; now I think I must write about his boundless mastery. Indeed, there is some seemingly carefree confidence in his recent paintings, an unyielding determination to get to the goal that befits only mastery. But there is such freedom too. The subject is only a riddle, a maelstrom drawing the eye of the viewer into some imaginary centre that might explain the “event” or the “goal”. There, on the other hand, with a slight feeling of having been deceived and with great joy, the viewer finds only painting and its naked core.

Three smaller cycles, parts of Cemerski’s larger fruitful phase that has been unfolding over the past few years, are at the centre of his work on Bald Head Island and in Wilmington: “The Magical Bird”, “Eve”, “The Good Shepherd” and only one painting “The Knight and the Serpent”. They are all exciting in terms of the process and the painting technique. Cemerski paints with brushes, a rag, a palette knife or directly with the paint tube. Yet, to him the most important are the fingers and palms, the touch on the canvas that seems to bring about that which he calls “the eroticism of painting”. It is an inexplicable and irresistible current between the painting and the viewer’s receptors. In the beginning come the broad and strong brushstrokes, light surfaces that build the global architecture of the painting. The palm heralds the “landscape” and the “characters”, drawing them from the mist. The fingers tune the “silhouettes” and the paint tube finally and with lightning energy shapes the whole. We are left to wonder how, layer by layer, the great densities from which the painting will draw it lasting life have come about.

Without any self-reproach, I will let the painter finish the description. Cemerski says: “In my painting, ‘stories’ mix. But there is one time: that of light, which is also the real time of painting. Ancient pastorals, biblical dramas, joy, fertility and abundance are alive even now. Yet, suffering too is alive. I am equally inspired to paint by all that delights or torments me. On canvas or on paper, I turn it into colour, light, rhythm, into an exciting suggestiveness that is bound to have an effect. Within me I have the Knight and the Serpent, the Princess, the Sirens and the Apple Tree Women – Eve’s progeny. I am sure that they and a myriad of other things belong to the present too. It is important that they enter our eye and our spirit through powerful painting. I paint them in abundance of colour, rhythm and indomitable bodily gesture. Thus the canvas gets chromatic energy and personal eroticism; it becomes an enduring nourishment and stimulus to visual appetites, so that it could live longer in the eyes of others, in the eyes of those who need the same visual delight. Everything that has been painted powerfully continues to live in this way.

Need I add anything? Perhaps only that the abundance, the nourishment and the delight have become ours.

Alex Krtov