symposium, 2007ã.

(...) The paintings of Rumen Gasharov represent a very original attitude to the motif of the tavern – café, through the applied genre traditions, plasticity – style interpretation and non-trivial approach. Even in his early composition “Confectionery” (1966), the artist reduces the image to still life, originally monumentalized and facing the viewer. Here thus manifests the dualistic attitude of the author to the interpreted reality: by dint of ambiguity in evaluating the depicted, by irony and the game principle, by vagueness and provocation. In this case this is depicted through the contrast between the triviality of objective motifs (table, utensils) and their artistic monumentalisation, even “heroisation”. Some later works of Rumen Gasharov also give similar impressions– created in the 70’s and 80’s, bringing again and again into action the motif of the tavern – café. The artist displays his creative approach to the traditions of genres such as portrait, subject picture and still life, being interpreted in a quite modern way (even postmodern we could say), in       

The Grey Horse, 1988, mixed techn., press board, 46/50


the context of popular mass culture from the end of the 20th century. The paintings with the same motif – “Beer - grill”, “The grey horse” (1988), and others, depict various decisions for plasticity and colour. The included elements of labels, advertisements, also urban pop culture and kitsch, are signified by the artist with ironical subtext and direct our association towards the dynamics of contemporary urban life, towards images from television and cinema.

PhD Sasha Lozanova




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