Untitled 

Editor: This work, titled "Untitled" by Vangel Naumovski, presents an intriguing biomorphic landscape realized in acrylic paint on canvas. The sheer variety of shapes and the layering create such a unique textural experience for the eye. How do you see the artist manipulating material and form here? Curator: I see a concerted effort to destabilize traditional hierarchies. Naumovski challenges conventional painting practices, merging "high art" and "craft" by foregrounding the materiality of acrylic paint and its application. Note how the impasto isn't deployed for purely aesthetic reasons. Editor: Impasto? Curator: Yes, see the thick, almost sculptural application of paint? It isn’t just about representing a scene, but also about emphasizing the physical properties of the paint itself. Consider, too, the canvas itself, a mass-produced object transformed into a site of artistic labor. What do you think that tension reveals? Editor: I suppose it asks us to consider the value we assign to artistic creation. Like, who benefits from it, or who gets left out? Curator: Precisely. The raw, almost childlike execution of forms pushes against notions of technical mastery valued in the art world. It might invite reflection on folk art traditions and the art world’s frequent overlooking of them. Also, note the scale of the canvas; how might its size affect labor or influence modes of reception and consumption? Editor: So, the materials and process are as much a statement as the final image itself. Thinking about Naumovski's process really reframes how I approach the artwork. It shows me art’s potential for dialogue about labor. Curator: Absolutely. We can view the “Untitled” not just as an aesthetic object, but as a complex material statement reflecting the conditions of its production and inviting considerations on value, skill, and class.