Krasimira Dobreva
September 3rd - 16th, 2012

The pictures I paint successfully do not fit into our everyday living conditions. They are not intended to be sentimental to the architecture of the apartment’s premises. World art-spaces have long been overshadowed by the presence of images, which reminds me of the body’s overstretching of antibiotics that no longer function properly.
At this moment of abundance, I find that the painting does not represent the classic form of fine arts. I understand its meaning and place in the same way, as David Hookey has perceived it. I wonder whether it is not one of the basic tasks of contemporary painting to be competitive with “know-how” technologies? Does modern intellect need to be general with anachronistic forms of reality? Modern painting is difficult to cause a conflict as the means of mass communication, which in recent years has directed the course of history in a radically different direction. the world is materialized to this extent, even its virtual spaces turned into stomach acid. That’s why every paradox is welcome for me. I understand that contradictions are not a source of progress and development and that things and phenomena are constant and independent from each other so that in instinct, intuition and reason can act in action. I do not consider metaphysics a comfortable shell for my complexes. It is not an excuse for mental suffering. I perceive metaphysics as an invaluable auxiliary tool for maintaining modern reality (do not identify with a mirror). Since there are no changes, then everything that is left of the past, everything that is canceled and denied, turns into a driving force, but only under the condition that it passes through my senses, knowledge, and possibilities.

The arbitrariness of historical times and the aesthetic form of expression for me, nothing is so beautiful, until I paint it so nicely. An important point of view in my work is the conclusion that “ALL FLOWS AND NOTHING IS CHANGING” and that “KOSMOS DEVELOPS, GROW ON ALL THREE DIRECTIONS EQUAL” – according to Einstein, even if it is not so. Along with these claims, there is one very important question “WILL I SURVIVE PHYSICALLY TODAY?”. The conditions of physical survival make us look at art as a commodity. It’s beyond my understanding of art and my works at that point, normally, they get quite ambivalent supplements. I do not guide myself with national values, because I do not want to turn into something like a tourist attraction. I do not think that art is less art if you want to choose someone for your viewer. If we already have a personal doctor, I do not see anything wrong with having a right to your viewer. But in no case does the viewer depend on my choice. The spectator accepts or rejects, understands or not, observes or not, and in such a state I make my choice. It’s a performance without my direct participation. Without shame, I define this act as a pure escape. The exterior effect of work does not excite me. What seems to have been made by all the rules of technology from the past is just an illusion and has an elevator function. My choice is that the content in my works takes on a form of literary narration (more precisely, the characteristic of the script). I’m deprived of the presence of the main character so that I can burden the content of inhuman functions, and therefore prohibit access to any moral values. In my pictures, everyone has the right to testify, feminists, fascists, and others, not insulting the national dignity of the people. The project “What’s First and What’s The Other?” consists of two parts that represent my work with text and image, which I am experimenting with within a unified form for the first time. The picture only works in its field, and the text adds what cannot be painted. The image presented in this combination is called a dualistic object – painting. I expect the surprise of the unprepared viewer. Confusion is my favorite activity because I think that only in such a state man can mobilize his bodily qualities. And in the end, I consider it unreasonable to describe my work, because my action is purely subconscious and the continuation of the great game of my childhood. Nothing serious and respect your parents! Because world industrialization has come to its end, and “romantic” is no longer a rebellion and virtue.

He was born in Bulgaria, August 4th, 1962. He graduated from the National Academy of Painting in Sofia, the Department of Painting. He works in the field of painting, graphics, children’s illustrations, theater scenography, performance, installation, happening, text… He is an assistant professor at the Academy of Music, Dance and Fine Arts (section design) in Plovdiv – Bulgaria. Founding member of the “Disko ’95” band (1995-1999). She is the author of the stage design for the play “Little Night Talk” at the State Puppet Theater in Sliven (2001), the scenes for the play “German Ambassador” at the Ivan Vazov National Theater in Sofia (2001) and many others. He is the winner of many awards.

Phone: 00359 885 135 622