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Bogdan Aleksandrov

09.11 - 23.11.2021

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Painting as a continuous script / Protocols for the experience of an idea

Working on a cycle of paintings inspired by patterns in classical painting turns out to be a very daring task and a complex mystery. The entanglement also comes from the utopian intention to paint the paintings through the notion that the event (process) takes place in the distant future. A future in which the knowledge of the world and the universe becomes complete, integral and absolute to the extent capable of causing radical aberrations in the poetics and metaphors of the selected paintings. Here it is appropriate to introduce the preliminary stipulation that the author realizes the positioning of his project in an insidiously unsystematized time gap, in which the flowing linear time contradicts an imaginary added timelessness, be it an artistic pretext.
Martin Heidegger argues that experience is always associated with the act of knowing, and knowledge in turn is related to understanding. The confidence to continue with the implementation of the project was supported by a fact proven by neuroscience; the phenomenon that the brain of each individual knows what his decision will be before it is realized. In other words, the brain predicts what will happen, what you will see after you move your eyes. Ie the brain thinks in perspective. His quest to "peek" and predict the future occurs in the presence of a paradoxical, and seemingly secondary opposition to balance. People, in general, are always on the cutting edge.
The current "writing / writing" should be perceived as a strategy for experiencing the idea, which aims to find possible markers in personal artistic time. They, in turn, facilitate the application of brain apocrypha in the understanding and realization of an author's idea.
The inspiration from Velázquez's works prevails in the choice of the classical works to be interpreted. Unforgettable is the former enthusiasm for a face-to-face meeting with the "Three Musicians" at the Berlin Art Gallery. We recognize over time the enthusiasm experienced in a sense of festivity, on the day when the author's daughter turns seven, a small picture appears - a girl with a cake. The child's portrait is inspired by Velazquez's infants. The memory of the small picture gradually fades, and its "reconsolidation" is activated by its recognition (despite the fatal damage) among an improvised stall of a carpenter…
Rovelli's theoretical physics, presented as "short talks on physics," figuratively directs our curiosity to jellyfish. We learn about the existence of the immortal jellyfish - an impressive, untouchable and eternal species. Their unthinkable quality - immortality in my imagination arranges them to other objects burdened by us with this quality - the masterpieces of art. The cycle closes. Born in the author's artistic subconscious and intuition, with utopian, blurred and vague boundaries, the idea is gradually freed from the original fantasy delusion in order to discover and handle new images and metaphors. Through them, in his new project, the author hopes to realize in paintings and exhibit a script rewritten in the future of what artistically explains the world in the past.
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