For me, beauty is not what you see when you look at a sculpture, but what you feel. There are no rules in art, and there is no strictly defined process for creating a sculpture. The artist is his own master and creates his own world as he wants and as he knows it.

Generally, I start by sketching a drawing. Then, I sculpt that idea in clay. From the clay figure, I create a plaster cast, and from that cast I create a plaster sculpture. Then, depending on the resources I have, both physical and monetary, I use the plaster sculpture to create a final piece in a more permanent material, such as bronze or marble.

As a student, I worked from live models and focused on realism. This is what the professors required of us, so that we would learn the basics of sculpture. It was only in our fourth year that we were given the task of creating a sculpture in our own style. This was incredibly difficult, not only for me, but for every student – to find something original and creative. My first sculptures were in marble and wood, like the sculptures of my professors, but I did not enjoy working with these materials. They felt very restrictive to me. Then, one day, as I was sitting in my work area eating burek, surrounded by scraps of metal, wood, and stone left over from the sculptures I had made, the idea came to me to clean up the space by taking all the scraps and turning them into sculptures. This was the start of my original work. I used these scraps to shape pieces inspired by Macedonian “Folklor” – traditional dress, dances, poems, and songs. I enjoyed the idea that these sculptures were somehow ecological, turning waste into something beautiful and lasting.

After I finished University in 2002, I began to focus more on exploring the human form. My first solo exhibition, inspired by the work of some of the greatest sculptors and the beauty of the female form, consisted of female figures, which I sculpted in clay and then cast in polymarble. Over time, human figures have continued to provide me my greatest inspiration, but my work has become increasingly stylized, first with clear and clean forms that carry a distinct message, and now, in my latest work, with more expressive, surreal interpretations. My series “Pairs,” created in 2012, focused on the interconnectedness of things, such as “Wisdom and Curiosity” or “Father and Child.”

Next, I focused for a period on creating my own mythology by sculpting would-be heroes who reflect what I see as most urgent and important in modern life, such as a hybrid of man and rooster who calls the viewer to awaken to his connectedness with the natural world (“Awakening”) and a hybrid woman and bird who symbolizes the key role of travel in understanding the world and one’s own existence (“Traveler”).

During the pandemic, as my wife, daughter, and I have been like a world unto ourselves, family inevitably became the dominant theme in my work. Every new sculpture became not only an experiment in style, form, and material, but an exploration of closeness and distance, physical and emotional.

My professional biography is as follows:

Sinisha Noveski (born September 6, 1978) is an award-winning academic sculptor and educator. He has more than 20 sculptures exhibited in public spaces in Macedonia, Serbia, Bulgaria and the USA. He has exhibited in 19 solo and more than 30 group exhibitions. He is a member of the Society of Fine Artists of Macedonia as well as the Society of Fine Artists from Macedonia in Serbia, where he served on the Board of Managers from 2014 to 2022. He has participated in more than ten art colonies and symposiums and has won as many awards, both for his own artistic works and for the work of his students. In 2022, his sculpture “Family, Uprooted” won the top prize at the Annual Exhibition of the Society of Fine Artists of Macedonia.

After graduating from the Faculty of Fine Arts in Skopje in 2002 as the top student in sculpture, Noveski worked as an assistant to eminent sculptors Tome Serafimovski, Dragan Poposki-Dada, Rubens Korubin and Nikola Smilkov. During this period, he also contributed to the creation of ten of the most famous works in the country, including Korubin’s mosaic “Macedonia” (Pelince) and Serafimovksi’s monuments “Milton Manaki” (Bitola) and “Skopje 63” (Skopje). He obtained the title Professor of Fine Arts in 2004, and from 2007 to 2011 he taught fine art at Sveti Naum Ohridski Secondary School in Makedonski Brod. He completed his master’s studies at the Department of Sculpture at the Faculty of Fine Arts in Skopje in 2011 under the mentorship of professor Zharko Basheski.

From 2011 to 2022, Noveski expanded his career in Belgrade, Serbia, where, in addition to developing as an independent artist, he contributed to the fields of education and cultural diplomacy as professor of dine arts at the International School Beyza (2013 to 2014), external advisor for culture for the Embassy of Macedonia in Belgrade (2014 to 2018), president of the Board of Managers of the Macedonian National Council for Culture (2015 to 2019), artistic director of the Days of Macedonian Culture in Belgrade (2013 to present), member of the Board of Managers of the Society of Fine Artists of Macedonia in Serbia (2014 to present) and cultural associate of the Nusic Foundation (2014 to present).

To learn more about my work, commission a sculpture, or schedule a visit to my studio, please email contact@sinishanoveski.com.

My work can also be found on the online gallery Saatchi Art at www.saatchiart.com/noveski.