Landscape-Formula, 1979

 

Rumen Gasharov has one distinctive still-life work called Still-life - formula and one Scenery which also is a “formula”, (…) but what he paints is not a particular scenery or still-life then rather some figurative “formulas” of what forms the perception of scenery and still-life.
 

In this sense also the portraits by Rumen Gasharov are “formulas” even when we have the opportunity to compare them with models that are distinguishable for us.
 

The work Artist (1985) is a “portrait” of a particular person (Genko Genkov) and at

 




Head-Formula, 1973

 

the same time a generalized image with a more universal human identity. And the achievement of the artist is not to accentuate the one or the other, but rather to synthesize them in a rich and complicatedly controversial unity on the canvas. Maybe this unity of individual uniqueness, on the one hand, and the existential and social unification, on the other, is achieved at highest level in Self-portrait with signature on the face (1984) where the individual identity of human face is “strung through and numerated” is passport standard as a symbol of the subordination of man to the 

 




Still Life-Formula, 1973

 

mechanism of administrative and bureaucratic machine. The personal identity is nailed by an objectifying anonymous stare – the stare of the state.

 

Rumen Gasharov stayed loyal to figurativeness but his painting has nothing in common with mimetic realism (…) because in creating his paintings Gasharov does not originate from the concreteness of real objects, he rather uses a mode of constructive imagination to create art models of the world.

 

 

Professor Svetlozar Igov

Fragment of the study

Rumen Gasharov’ Painting

 

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