Tomo Bundovski

In the opus of works, by using drawing technique similar to the draughtsmanship of Matisse, Tomo Bundovski has the expression articulated notonly through passion portrayed in faces, or eruption in abrupt movement, but through entailment of the overall articulation of the line as a euphemistic attempt of rebellion against the total putrefaction of humanity brought on by Thanatos, whilst on the other hand alludes to the daimonic synchresis of the Eros – the Eros and Civilization acting as the source and association to reality, associationand complementarity to Orpheus, Narcissus and Dionysus – as a logic of domination in the realm of the mind, represent a different reality.

Their expression of joy and fulfillment is not a commanding voice, but a singing one, a gesture of offer and acceptance, an act of peace complementing victory, deliverance from time bringing together man and deity, or man and nature, characters that reconcile Eros and Thanatos. That substance is conveyed through the leading role of the contour line shaping forms in a single incorporating linear rhythm of wide, bold lines hence crafting a net of spontaneous gesture or an action of wide expression of drawing as a regimented simplification of shape. The thing that intrigues the artist is the actual society and human providence as an intense deliberation of the mysteries of life and human existence, the loneliness, fear of death, bitter pathos and complex fatalism of life. And the content of art, according to Cézanne is there, in what our eyes are thinking. Gauguin, on the other hand considers the product of imagination to appear as amysterious foundation of the soul and in some way expresses our frame of mind and myriad of harmonies thereof. Therefore, art creates a type of counterculture that is some what aimed towards personal deliverance which, in this case depicts the personal, intimate experience, or it represents the outlook to cults as a sortof libidinal energy that contesting with the aggressive energy strives to intensification, fulfillment and yielding of life to the surrounding world; or as an urge of life against the urge of death (Freud). Antagonized to talities in general are juxtaposed in radical opposition, scattered and thus reduced, separately emanating from itstraditional base. However, in spite of its harsh criticism, this morale remains a conformist one, therefore entirely divested and inclined to supportof formalistic repetition. In addition to its tenacity, it lies dangerously bare before compromise, unable to resist the stroke of reality. As Argan implies, maybe most of today’s urbanism, architecture and industrial design can contradictio in adjec to be called art of stern compromise. As an artistic language, it must resonate truth and when sensitivity is repressed, maiming experience, a revolt appears against the repressive mind that unleashes the chained power of the esthetic in a new sensitivity. That sensitivity is being radicalized in art too, with the severity that implies that contemporary art (Markuse) does not rebel against one style or another, but against style per se, against artistic form in art, against the traditional meaning of art. 
Viktorija Popova, art historian