The portrayal as a conceptual auspice of the project called In the Unknown Existence (1998),^{[Exhibition “1111 portrait” (8.7-17.7.1998) Fourth annual exhibition of the Soros Center for Contemporary Arts – Skopje, Macedonia, location Art City, Havzi Pasha quarters, village Bardovci.]} is considered to be a gesture of mutual influence, which reflects or represents the variability of the interactive relationship between the artist and the critic. In an oil-painting technique on glass, the sequences of aesthetic details metaphorically expressed by a multitude of chamomiles simplify a self-realization in the real interchanging relations between criticism and self-criticism.

In this mirror reflection, the artist observes the evolutionary phase of creation as an inferior and perhaps as an inert attitude towards the intuitive forces that foster the opposing aspect of art and its posterior manifestos. The crossing between these two dominant points is presented as a pendulum, according to which a portrait can be anything that can be looked at or vain vocabulary without connotative directions. Laconically, entering into the unknown existence may indicate a “subjective nonreductivity of the other”^{[Alain Badiou and Elisabeth Roudinesco, Jacques Lacan, Past and Present: A Dia- logue, trans. and forew. Jason E. Smith, (New York: Columbia University Press), 63.]} in oneself, or that one sees oneself in the process of identification and the consequent transformation.^{[The concept of the other, “autre”, comes from Freud’s “object” or the Lacan’s explo- ration of otherness. Jacques Lacan, Scripts: A selection, trans. Alan Sheridan, forew. Malcolm Bowie (London and New York: Routledge, 2005), 1-2.]}

The work or the semantic diptych In the unknown existence is an imitation of nature in an Aristotle’s sense – non-realistic, but turned towards the human nature, just as it should be.^{[Rensselaer W. Lee, Ut Pictura Poesis. The Humanistic Theory of Painting (New York: W.W. Norton & Company, Inc., 1967).]} The relationship between the pictorial presentation and the verbal statement “my face is still because of the comfort of my body” appears as a codified knowledge, not a meaning. In such a way, the artist or the critic projects himself into the reality through the exteriority of the form that is and was being constituted and created at the same time, symmetrically inverting itself into the recognizable and visible world.