In recent years, ceramics has become attractive again as a creative means with which it is possible to overcome exclusively decorative-utilitarian functions and to conquer different contexts and spaces, which belong not only to the standard gallery, but also to the ambient presentation, thus corresponding to the changes that the new age brings to them. These changes in the treatment of clay as a basic starting material were brought to us by the younger ceramicists from our country who have contacts with artists and events outside the country.

This especially applies to the young but already established author Filip Fidanovski. From the very beginning of his creating process, he made it clear that the ceramics in his hands expand the given coordinates of the discipline, weaving his own thought and artistic language.

The Signs project made for the Museum of Contemporary Art consists of a presentation of floor and wall ceramic tiles made in a standard glaze technique organized in an ambient setting - a bathroom.

Why exactly is the bathroom the chosen topic in the presentation of his art and thought creations? Because Fidanovski believes that art is always with us. It is not only in museums or in the living room. Well, that's it, we'll agree: "...the quietest and loneliest place in the apartment. The last refuge from civilization... In no other room is a person so alone with himself..."1 Starting from the idea that: "...you can enter your own home toilet at any time and without need, you can soak for hours, read a book or flip through comics, you can just rest your head and think..." 2, Filip Fidanovski decided to present his creative thoughts in the "most important room".

Adopting the position that: ".. the meaning of a work of art is a consequence of the internal relations of the pictorial or sculptural symbolic and display elements..."3, he conveys through the symbolic structure the subjective expressions of emotions related to love and life. He achieves this with the play of artistic signs that extract a kind of narrative from the ceramic forms, which speaks about the essence of life through multi-faceted allusions.

In his "abstract" writings we discover geometric shapes (circle, square, triangle...), representations of man, fish, eye, heart... whose symbolic meanings express life flows, states and emotions. Through the red line painted in different positions, he manages to present to us the path of life from its beginning (a square), through the ascents of life's stairs, movements in different directions, ending in the form of a square so that part of us continues again to live, but in another form represented artistically as an X in the middle of which, just like at the beginning, we discover the square. Fidanovski wants to confirm that life is an infinite movement. We perceive the eternity of life in the frequent forms of a circle present in his works, and the circle with its symbolism of infinity, perfection and timelessness confirms this.

Fidanovski's signs of love, represented symbolically through the heart, range from the expressiveness of feelings to their ecstasy. The poppy flower as a frequent motif on his tiles alludes to the beauty that lasts for a short time, but leaves the beautiful feeling behind forever.

In the presented tiles, the colors (red, dark green, black) contain those meanings that are related to the feelings of the soul and its changing states.

In the end, we will state that Fidanovski, although belonging to the generation that strongly, or rather explosively, experiences the closure of his homeland, does not give up. On the contrary, with his creative energy he overcomes all the obstacles he encounters in his everyday life, confirming that through art we can find our own peace in the soul.

Zaharinka Aleksoska Bacheva