Български (България)

Painting Exhibition “Signs”
Ministry of Culture, ”Sredets” Gallery

Vassil Petrov’s paintings are complex not only technologically – with their saturated base layers, precise painting canvas and richness of valuers but of meaning as well. In his paintings rarely can we see subjects, simplified to one local theme, closed in one sentence. Even at first sight in his traditional still life, Vassil Petrov weaves the intrigue of a long, complex and absorbing story, full of fascinating adjectives, poetic details and startling reminiscences.
As far as his figure compositions are concerned, without any hesitation I can define them as “evocative magic”, in which calling spirits expresses high spirituality. To him painting does have ritual characteristic. It is a gesture, showing a deep anxious mind saturated with many layers and signs, which lead us through a picturesque labyrinth in whose windings we touch esoteric and mystic insinuations, poetical erotic and it seems that they emphasize what Hegel said - that the beautiful labels itself as a sensuous transfer of the idea. Maybe that is why the emotional and logical centre of this exposition is The Eye - a sign of both sensuous and intellectual mentality. The Eye is “the thirteenth sign”(Ophiuchus - The Spirit – Guardian) in Vassil Petrоv’s world of symbols. Here it is not closed in a triangle as in the traditional Christian (or Masonic) symbol but in a hardly discernible square as it is in the Taoist tradition of the Chosen Immortals - turned as much outward as inward, to self-cognition. Moreover in many cultures, depicting an eye without an eyelid is a symbol of the essence and cognition of God. Maybe that is why in the retina and the pupil Vassil Petrov’s The Eye gathers elements of the traditional and the Egyptian Zodiac, of the thirteenth sign - as a source of magic fluids and purifying light.
And why not reminding us that in the whole cultural diversity of the world the notion of God is one and eternal. Nowadays it is accepted to believe that according to the mystics our world is only a dream, whereas the real world is in the divine uniqueness. Therefore The Eye should be accepted in its double meaning - the one of reality and the one of source thus showing the over - existence of the deepest essence of God.
Avicenna interpreted the Eye as a “bilateral conception” in the sense of intuition, i.e. as an intuitive understanding of the superrational mystic truth. From Celt culture to the ritual mystic of Masonic beliefs the Eye is the physical point of view of the Sun whereas from the point of view of the stars - the Speech, the Divine Mind, the Creative Beginning.
However, looking intently at Vassil Petrov’s painting I think about something else, too- vision is Longing!
The Eye is what the woman we are to fall in love reveals to us. It keeps her image in us even when we tired of love close our eyes.

Associate Professor Dr Peter Zmiycharov

Vassil Petrov’s art is a modern type of art, but it  is difficult to grasp it if we do not bear in mind the history and the culture of his motherland – Bulgaria. Under his hands, all colors powerfully become alive on the canvas, with an enormous archetypal fund, the figures quiver, filled with many different, other polar, feelings. His paintings gaspingly pursue symbols and universal metaphors; the bilateral Bulgarian spirit is found there – proud and gentle, combative and poetic. Even under the sign of the strong character, in his paintings there exists the melancholy of the great Orpheus, the legendary Thracian poet who is indivisibly connected to the image of love – chased so long and lost forever, the love that is just a step ahead of him. Many cultural and religious layers are connected to the Thracian singer and it is not by accident that the art of Vassil Petrov portrays passion, fatality and courage united together in one single feeling – of roots and deep spiritual connection. The horizon of Earth and the horizon of faith create the feeling that life is a quiver in the shadow of the overhanging death. All of this could be found in his paintings line that is funded with the taste of discovery, of the human desire to reveal – even though a single image – a history that captivates, and may be, rescues. We, too, have the opportunity to see his works. And we are going to be surprised mostly by the freshness of this painter, who looks so much like a rider, coming from a distant place without losing along the road neither his strength, not his glees and carrying a message which somehow draws us together.



Vassil Petrov

The art of Vassil Petrov has the power to surprise and to draw us imperceptibly into the author’s dialogue with spaces, times, history, nature, human fates. Canvases that emanate towards us their eternal hope and sorrow, joy and love, mystique and philosophy. An interweaving of the past and present which inspires a feeling of an astringent future. A strange world with no specific time and place. A story of the elements that give birth to life and cause death; a story about love that prevails, the love that brings to life even the dead matter; a story of the celestial female body which gradually turns into an exquisite antique statue and petrifies in front of us as in a fairy tale.

The original meaning of each single detail and form is clear, but combined in the works of Vassil Petrov, they lose their trivial character and turn into elements of the creation of an unified picture that already carries its own new meaning – timeless. Picturesque spaces that elevate us from the Earth’s gravity and the ordinary today and make us see the world as a complicated combination of colors that condense, become still, contrasting, intertwine for a moment and then pass into most delicate nuances, gather together or scatter in order to create a variety of images, symbols, and structures wrapped by the material and the spiritual world. A world in which the artist passes freely through the organized matter and the still life, creating a reality of its own - miraculous as a dream. A reality that is close and warm – as the memory of the past, and bright – as the hope of the forthcoming future.

Adelina FILEVA

There are no translations available.

Васил Петров има задълбочено и сериозно отношение към живописната проблематика. Той ярко показва както основните насоки, които защитава като художник, така и своето пластическо кредо. А то е свързано с вярата и убеждението в класическите живописни стойности. По-конкретно това приема облика на една жива, динамична и същевременно академично издържана рисунка,  на подчертан респект към утвърдените жанрови структури, сложно тонално степенуване и обработка на живописната материя посредством разнообразната мазка и умело наслагваната по-релефна фактура.

Независимо от това, че авторът развива традициите и особеностите на класическата картина, зрителят веднага ще забележи и ще се убеди, че пред него е художник с модерна чувствителност и със съвременно пластическо мислене. Наред с онова, което окото непосредствено съзира върху платното, проникновеният поглед може да открие и определен скрит асоциативен подтекст, който се поражда от съчетанието между заглавието на картината и цялостната образна тъкан. Формите са едновременно и конструктивно изградени,  и дифузирани от някаква сякаш особена и странна живописна атмосфера. Тази тенденция към по-метафорично и символно звучене достига кулминацията си в картини от цикъла „Кръст”,  в който човешките фигури и предметните атрибути са „смесени” в една сложна пространствена амалгама, която дава значителен простор на зрителя да домисли в съзнанието си образа, ситуацията и,  в крайна сметка,  основната пластична идея на автора. Прави впечатление, че художникът смело се захваща с глобални теми и мотиви, които се стреми да интепретира с подчертано  индивидуално и оригинално виждане.

Чавдар Попов