Drawing and collage have always been an essential part of my artistic development and by this, I try to create and design my own rules of image-making. My graphic work contains elements of both drawing and collage and my artistic research is strongly influenced by the tradition of old propaganda books and newspapers. I investigate in my work the generation of society identity: a sense of self, within the context of culture.
Trained in an academical drawing, I learned how composition, layout, color, proportion and scale all play a role in conveying a message. These principles are the strong background of my mind when I create my drawing-collages and transform them into a large piece of art. The motives, in close connection with the titles, consider the outside world and current events. In my works, I investigate and handle with very human individual concepts of distance, banality, isolation, ignorance or irrelevance. It is also important for me to have a strong hands-on relation with my work, therefore everything is done by hand- from cutting and drawing to assembling.
The academic study in Bulgaria has inspired me for the different established technics of expression. In this way I continued to search for more and new possibilities to break the classical boundaries of the drawing, which is one of the oldest and spontaneous medias, systematically used by humans since ancient times. In spite of this it forms a different pictorial space and creates a new whole, when it is incorporated with another fragment, photo, text or color paper. This expands my aim to investigate the way human vision works and perceives. Therefore it is from main interest to me to explore the philosophy and the artistic research of visual perception and the correlation between personal experience and drawing processes.
The Conceptual Drawing Series are more than drawing, they are developing a visual language.
What does your practice mean to you?
In my works I investigate and handle with very human individual concepts of distance, banality, isolation, ignorance or irrelevance. It is also important for me to have a strong hands-on relation with my work, therefore everything is done by hand- from cutting and drawing to assembling.
The relation between text and image, describes the visual narrative of my work. Collecting analog photography from postcards, posters, magazines and book dating from the 1930`s to 1980`s. That means for me to reconstruct the past to the present and juxtapose the meaning of one thing of the top of another.
The materials I use mostly are moveable as a hand-made paper, nero pencil and aquarelle. This is kind of portable media, and allows me to take it always and everywhere with me.
How would you describe your practice as relevant today?
Through my work I explore concepts that interest me in many ways, often dealing with the themes from everyday life, our previous experiences or perception of visual reality. Now days to be saturated with images it is very easy, every object has a story behind, we have to struggle with so many different visual languages everywhere. As give sense for me to recycle images, because those are never failing sources. At regulary intervals, I am visiting flea-markets, archives, libraries and seeking for original materials, which I collecting. Afterwards in my works they become a new language of interpretation, building layer after layer, so in this way I can construct a new fictitious contemporary story. Sometimes the messages are very abstract and hidden behind the shell, but other times there are presenting in very directly way.
The working process included different character, from classical drawings series to interdisciplinary way, to researching and reinventing moments simultaneous. For me that means a very dynamical scale of practice collaboration of our view for narrative. It is undoubtedly the variety of approaches.