During the longstanding research on the structure of the image, Georgi Georgiev Jorrras turns the work on a visual object into a ritual. It can be described with Jung's idea of abstraction as "A form of mental activity by which a conscious content is freed from its association with irrelevant elements”. This type of creative process has a direct impact on the final result realized in paintings, drawings, installations or site-specific projects. In preparing his exhibitions, Jorrras enters a lifestyle that provides a certain type of meditation over the content of each work. This leads to decisions on what materials to use, what intervention to apply to them and when to finish each work cycle.
The project of Stela Vasileva, Signs of Sound is a multimedia installation that functions in-line with the architectural environment where it is exhibited. The first part of the project was created for the concert Stone Hall in the Balchik Palace for the Music Campus Balchik event. The installation consists of nine mirror double-sided panels, bent in the form of various sound waves. Besides being a plastic object, when placed near the musicians, they capture and reflect the vibrations of their instruments, and the mirror panels materialize not only the sound but also the play of light in the architectural environment of display. The second part of Signs of Sound will be developed for the space of the Water Tower in Lozenets /Gallery + 359/. Music specially created for the site will sound within this project and the three-dimensional ‘sound waves’ will be displayed and illuminated in a new way corresponding to the cylindrical spiral movement of spectators in the tower.
Psychedelic states describe changes in human perceptions that cause synesthetic states. They are the result of activating connections between the different brain areas that are specialized in processing information from different senses. The term "psychedelic" derives from the ancient Greek words psuchē (ψυχή - psyche, "mind") and dēlōsē (δήλωση - "manifestation") and translates as "manifestation of the mind". In everyday life we perceive the signals coming from the senses separately, autonomously - we see colours, we hear sounds, and we feel touching. In the case of synesthetic states, this modality is mixed up and people "see sounds", "hear colours", etc. [...]
The most laconic description of the drawing as a process is to leave a trace with a tool selected by the artist on a material specified for the artistic intervention. The drawing is the shortest and quickest way to visualize ideas, and in this sense the spontaneous reaction leading to the appearance of lines on the drawing surface as well as the unintentional gesture are sealed directly into the final result. The American anthropologist, Ellen Dissanayake phrases art making as “the ability to shape and thereby exert some measure of control over the untidy material of everyday life". For Boryana Petkova, drawing is an act of rationalization of the world and not an artistic practice with a certain media. She documents the process of drawing from different points of view - the physical movement of the hand, the interaction with architecture and its surfaces, the sounds produced by the graphic and the derivatives of these sounds like music or computer modelled three-dimensional shapes, the specifics of observation in drawing, or briefly, Boryana analyses the line's ability to follow the movement of thought. In one of his studies, the British anthropologist, Tim Ingold presents the development of the notion of the line through Indian communication systems, through threads in the fabric and kipu, ancient ceramics, the Australian Aboriginal art, geographic maps, musical notation, the writing system and calligraphy, the schemes of relationships employed in scientific research and genealogy, etc. In conclusion, one of his findings is that "the fragmented postmodern line does not move progressively from one destination to another, but from one point of rupture to another. These points are not locations but dislocations, segments out of joint.” The hand that holds the pencil in Boryana's works does not just lay lines on the white surface, it explores territories, creates paths, makes sense of surfaces, leaves traces of work in confined spaces, traces describing emotional states, traces of immediate reactions to the physical environment, of the effort to overcome borders. [...]