Breach, 2013, wood, glass, mirror, cardboard, LED light, 60 x 80 x 15 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, 2009-2010, 4 boxes, 18 x 12, 50 x 16, 50 cm each, photography, mirror, wood,
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, 2010, found objects, metal, wood, dust, dimensions variable, installation view, solo exhibition “Formal”, Vaska Emanouilova Gallery, Sofia