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
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
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”