As for the visuals of the book, Gjorgji points out that “the graphic language in the way of treating the entire space in the book can be defined as conceptual.” In this sense, the book maneuvers through the “space of the graphic designer” without any given need to create an advertisement or a product, both of which we’ve come to expect as a given for today’s contemporary and budding designers. “Hence it can be said that the graphic language in the book is completely free of content,” Gjorgji adds. “The reader or viewer is left to interact with the space of the book, more precisely, through the playful short self-discovery session, which is the only content in the book, to experience the graphic design in another form where the consumer himself creates the content through his needs.”
It’s a daring and bold task to take on, but Skip Ad truly delivers on the promise and Gjorgji proves himself as more-than-equipped to do so. “The visual experience is as if the whole idea of the book is inverted in its meaning, we browse the book but at the same time we move through images that do not lead us anywhere exactly,” he explains. “On the other hand, the time we spend leafing the pages are becoming our time without ads and the daily invasion of images, and that explains the title Skip Ad.”
As Gjorgji continues to seamlessly move through physical and digital environments, and create truly inspiring graphic design, we wait with bated breath for his next moves. “My work is always inspired from the bizarre late-80s films, television and advertisements, strengthened with digital techniques and colour composing,” Gjorgji summarises. “And my visual vocabulary is influenced by pop art, 80’s cinematography and drag culture.” Now, Gjorgji is preparing his debut solo exhibition, and hopes to push the limitations of North Macedonia’s art scene – one genre-defying piece at a time.