Rakursi Gallery presents a painting exhibition by Elitsa Baramova – Baramó.
The exhibition includes 21 mixed media compositions – acrylic and pastel on paper or canvas, created in the last two years. They are part of my long-term project ‘Sediment Process’ *, the exhibition in Rakursi Art Gallery being the fifth phase thereof. Works from previous sub-projects are also presented to create a retrospective view.
The author says: “I would describe the current compositions as ‘concrete abstraction’ and ‘abstract images’. This deliberate contradiction is a creative approach to restore the original integrity between polar concepts /and marks the dialectical line on the poles of which they are located/. Recognizable details /in different scales/ are embedded in the works, and the connections between them are abstract, so a new context can be created.” Regarding the practice of articulating the visual: some of the paintings in the current exhibition will “talk” to the viewer and to each other with short lines as in a comic book; viewer has the option of an active intervention, being invited to share what the painting tells him using a note on the wall.
The Vertex point is highest what comes to perception in conditions of gravity. Outside of this context, say in the noosphere where the Absolute resides, the highest point could be perceived as the deepest point, our Monad, the imperishable spark. Moving inward is related to self-knowledge. And namely, the spiritual effort to observe oneself in perspective and not in the past. Relatively, the Vertex could be perceived as the upward movement of the spirit within the body and the movement of the body within one’s personal fantasy and spiritual level.
The Vertex is the topos, where the directions meet. A turning Point, a Top. This could be the zero coordinate, the point of interaction in the dialectical line.
Elitsa Baramova – Baramó
Elitsa Baramova – Baramó lives and works in Sofia as a free-lance painter.
“The Skaian Gates /Palindrome/”
If you step through these gates, you change your world. Power, mystery, sacredness, indestructibility and divine symmetry. The main gates of Troy, the Skaian gates, are described by Homer. They are the metaphorical boundary between two worlds – war and peace, home and journey, knowledge and ignorance, truth and lies, and ultimately – life and death. They are so imposing, powerful and exquisite that one’s can’t help but understand that they were built by gods /Apollo is one of the defenders of Troy and builder of the gates/. In front of them, Hector says farewell to Andromache, the Trojan horse enters (the horse was brought in from where people helped the gods in the construction, the rest was indestructible), and perhaps Orpheus loses Eurydice in front of them…’ /G. Malinov/ And we rediscover the modern European archetype, based on Greek myths…
The aesthetics of symmetry in nature, and symmetry of reflection, represents symmetry in force /leading/ lines. In other words, the search for symmetry could be a creative act if one realizes the apparent framework of the known answer: it is part of the conceptual aesthetics in which rational assessment is a recurring stage after the inclusion of intuition and pure imagination. In the composition, the logic of the reflection has been changed /with a reference outside the physical phenomenon/, in the direction of the idea of subjective reflection in the eyes of others. The reflections /and not the figures themselves/ have an enhanced spatial materiality, separating themselves in bas-relief from the pictorial surface and reinforcing the sculptural logics of my pictorial auto-concept. They convey the underlying metaphoric symbolism as ‘specific objects’****, dialectically relativized. They “mislead” us that it is simply a physical reflection. But such are the lies of the artist – they tell the truth instead of hiding it…
‘The Shell of the Dove’
touches on the theme of war absurdity. Something like a mantra for peace and reason, like militant pacifism, like the addresses of the unambiguous symbol of the dove.
The bird soars high,
the string of the rope is taut
to a deep anchor.
I correlate the symbols of the dove, the shell and the abandoned helmet. The shell as a Vanitas symbol, a reminder that we are all mortal, passing through a common portal. This perspective reinforces the absurdity of a broken peace. In the composition, the two dwellings of the dove are the shell and the discarded helmet with the nest inside. The shell moves along the bottom of the ocean of world memory with a ‘gear‘, constructed from points of views of real and written history. The interrupted flight of peace sends the dove into the blue depths so that it could fly again.
‘An Italian Style Family’ – The Architect project, conceptual text
…about the family environment, in which conversation is а cozy room of words, where the miracle of closeness happens.
All members of the family are presented in the sound picture as megaphones, standing freely, and each with his/her own voice.
If they function simultaneously, they’d rather play one and the same melody; if not, the conversation becomes a monologue…
● Graduate of the National Academy of Arts - major in Illustration, Master's Degree (2001).
● Member of the Union of Bulgarian Artists (2007), Painting Section. Multiple individual exhibitions in galleries and museums in Bulgaria and Germany, galleries of the guild, participation in international projects and symposia as a national representative.
● Public commissions from the Sofia Municipal Library (’18-‘20), Sofia Municipality (‘01-‘08). Cooperation with Ergo Publishing House.
● Winner of awards for painting and design in Bulgaria, Germany and the USA.
● Fields of work: painting, giclée print, photography, drawing, graphic, video art, happening, installation, graphic design.
● Focused on experimental quests; creator of the Sediment Process visual language, which is recognizable in the present exhibition.
● Her themes are centered on man and motion… and also on the traces left.