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Untitled (from the series Portable Architecture), 2017-2018, colour markers, paper, 100 x 120 cm, Privet collection

Untitled (from the series Portable Architecture), 2017-2018, colour markers, paper, 100 x 120 cm, Privet collection

Untitled (from the series Portable Architecture), 2017-2018, colour markers, paper, 100 x 120 cm, Privet collection

Untitled (from the series Portable Architecture), 2017-2018, colour markers, paper, 100 x 120 cm

Monument 1300 years Bulgaria, drawing on paper, 2015, 40 x 60 cm (poster for Sofia Underground performance art festival 2015)

Office-building, 2014, colour markers, pencils, 50 x 50 cm

Crane, 2014, colour markers on paper, 50 x 50cm

Under Construction (01), 2015, colored markers, paper, 110 x 65 cm

Under Construction (02)

Under Construction (02), 2015, colored markers, paper, 110 x 65 cm

Under Construction (01/02), 2015, colored markers, paper, details

Cement 01

Cement (1) 2014, colored markers, paper, 40 x 60 cm

Cement 02

Cement (2) 2014, colored markers, paper, 40 x 60 cm

Energy

Energy, 2014, colored markers, paper, 60 x 80 cm

Renovation II

Renovation, 2014, colored markers, paper, 40 x 60 cm

Renovation

Renovation II, 2014, colored markers, paper, 40×60 cm

In her work of Stela Vasileva, Seamstresses 2009–2010, the artist uses the form of a box as an object.
Through their nice, minimalist appearance the four boxes enclose a classic plot in art: a moment of the everyday life of a working woman.
The artist employs photographic images of working women and machines as structural units into an orderly, crystal-like and “beautiful”
formation of mirror images that possess a kaleidoscopic mysticism and attractiveness. Leda Ekimova

Seamstresses-photo

Seamstresses (01)

Seamstresses (02)

Seamstresses (03)

Seamstresses (04)

Seamstresses, 2009-2010, 4 boxes, 18 x 12, 50 x 16, 50 cm each, photography, mirror, wood,
installation view

As A Soup

In his writing A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757) Edmund Burke describes the physical and physiological aspects of aesthetic influence and perception of sublime and beautiful setting the two concepts in opposition. In the chapter Of Colour, to exemplify the beautiful, he describes a transparent receptacle full of limpid coloured motionless liquid and light passing through it. In order for the sense of beautiful to be complete the sides of the receptacle should be smoothly curved so as the passing light could reveal the gradual changes in colour shades. On the contrary, to manifest the sublime the liquid isn’t clear and still. The light is not smoothly passing through and doesn’t uncover the gentle changes of colour. Something like a colourful soup on a flat screen? Or maybe more: a boiling soup of light. Nevertheless Stela Vasileva’s work leans towards the sublime!
Leda Ekimova

As A Soup 02

As A Soup 01

As A Soup, 2011, installation view, Pistolet Gallery, Sofia

Field

Especially for the drawer of 0gms Stela Vasileva presents the work “Field”. In it, she uses light as a specific material to create space. Contrary to the principle of creating sculpture, where a definite form is shaped, in this particular case the artist deals with the idea of creating a continuous plane. Field is a work that obliterates the boundaries of the real exhibition space, on the spot. Finitude is transformed into infinity, and the darkness of the drawer is replaced by bright light which, however, creates a feeling of emptiness where images are absent. Vladiya Mihailova

Field

Field

04 Field

Field

03 Field

Field, 2011, mirror, LED light, dimensions variable, installation view, solo exhibition, 0gms drawer at ICA, Sofiа, Bulgariа

Formal
Labour as an eternity

In the exhibition Formal, labour, machine and worker are all seen outside their usual social context, outside the history of the human technological progress which is full of oppositional and imperfect concepts of the social-labour constructs. The author clears off both the object and herself from all possible accretions and, having remained unburdened, allows herself the intellectual luxury of “formal” observation of her object, of contemplating it without studying it, of using it for imaginary hypnotic constructions of infinite mirror reflections, of discovering it as an almost supernatural phenomenon which would only allow for an aesthetic rapture and languor with the sensation of eternity.
Untitled, 2010, an installation of found objects which Stela Vasileva came across in a powder-coating workshop and brought into the gallery, appears as some weird natural landscape. Dust, as if being sand carried across by winds for centuries, creates an untouched, desert-like and even cosmic picture. Unnecessary metal elements seem to have undergone natural erosion, with their own shape and function having lost meaning amidst the accumulated dust. No, this is not technological scrap: this is nature itself. Leda Ekimova

Untitled 05

Untitled 03

08

07

05

Untitled, 2010, found objects, metal, wood, dust, dimensions variable, installation view, solo exhibition “Formal”, Vaska Emanouilova Gallery, Sofia