This drawing explores a different mode of experimentation, informed by my previous work and my ongoing investigation into the unsustainable urban condition of Sofia. It is a study of layered construction, focusing on the interplay between material surfaces and the voids that emerge between them.
The piece is composed of approximately eight polyester layers and one sheet of plexiglass, all of them stacked to represent fragments of a facade in varying states of transformation. Each layer employs distinct techniques to capture the process of decay, which moves forward from the background to the foreground.
Within the image, materials appear to be overtaken by a parasitic presence that remains confined within their boundaries. This is expressed through a series of dots that recur across the layers, reappearing with each new interpretation of the facade. Initially, these marks spread across the visibly intact surfaces, exposing what lies beneath. in-between and above.
As the layers progress, the dots begin to signify the voids created by deterioration, confined within their boundaries, yet floating on the polyester surface, detached from what lies beneath. This evokes a sense of absence while simultaneously suggesting that these voids are not entirely empty, but subtly filled with presence. The parasitic movement of material decay advances toward the most prominent cultural and ornamental details of the facade, where they have not yet been overtaken. These elements remain the most visible and powerful, carrying the weight of a socialist past. While this history may be perceived as contentious, the architecture itself conveys a distinct sense of strength and formal beauty within the urban envelope.
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In my drawings, I consciously yet subtly transition between different materials, each introducing a distinct sensation and phenomenon into the experimental process. At times, I am drawn to new textured surfaces, where I attempt to apply my signature techniques while adapting them to the character and resistance of the material. The surface becomes both a canvas and a field of exploration, equally significant to what is about to be drawn on top of it. Texture, transparency, and durability all contribute to the final result.
The process continues until I reach a point of resolution, when I recognize the need to move on to the next piece. Each work offers insight that informs further experimentation in subsequent pieces. This drawing embodies that approach: a convergence of textures, linoleum print on mylar, transparency, structural rigidity, and photographic elements, all brought together through trial and error while engaging with the study of this facade and its unsustained presence.
The following video offers just a glimpse into these methods, capturing moments of material experimentation and the development of these ideas.
"Process video:
(incoming)
This piece is a drawing collage that was made with ink on mylar and polyester layers. The photograph and linoleum print used for the collage were made and printed by the author.
Dimensions: 310 mm (h) x 345 mm (w)
(incoming)
This piece is a drawing collage that was made with ink on mylar and polyester layers. The photograph and linoleum print used for the collage were made and printed by the author.
Dimensions: 310 mm (h) x 345 mm (w)
