Artist Statement

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 is an academic sculptor and experienced teacher from Macedonia who has been living and working in Belgrade, Serbia, since 2011. Noveski has more than 20 sculptures on public display in Serbia, Macedonia, Bulgaria, and the United States. His work has been displayed in 19 solo exhibitions and more than 30 group exhibitions. He is a member of the Macedonian Society of Fine Artists and of the Society of Fine Artists of Macedonia in Serbia, where he also serves on the Board of Managers. He has participated in more than ten artist residencies and symposiums and has received a dozen professional awards, both for his individual work and the work of his students.

After graduating from the Faculty of Fine Arts in Skopje in 2002 as the top student in his department, Noveski spent two years working as an assistant to some of Macedonia’s greatest sculptors – Tome Serafimovski, Dragan Poposki-Dada, Rubens Korubin, and Nikola Smilkov – helping to construct more than ten of the country’s most celebrated monuments, including Korubin’s mosaic “Makedonija” (Pelince) and Serafimovski’s “Milton Manaki” (Bitola) and “Skopje ’63” (Skopje). In 2003, he became the youngest artist ever to display work at the Macedonian Academy of Science and Art. He earned his teaching certificate in 2004 and served as a professor of fine art at St. Naum Ohridski High School in Makedonski Brod from 2007 to 2011. In 2011, Noveski completed his Master’s Degree in Sculpture at the Faculty of Fine Arts in Skopje.

Since moving to Belgrade, Noveski has been engaged as a professor of fine arts at Bejza International School (2013-2014), an external advisor on cultural affairs for the Macedonian Embassy (2014-2018), president of the Macedonian National Council Board of Culture (2015-2019), artistic director of the Days of Macedonian Culture in Belgrade (2013-present), member of the Board of Managers of the Society of Fine Artists of Macedonia in Serbia (2014-present), and cultural collaborator for the Branislav Nušić Foundation (2014-present).

To learn more about my work, commission a sculpture, or schedule a visit to my studio, please email

My work can also be found on the online gallery Saatchi Art at

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