“I agree with you that a painter`s image of nature is not the same as what nature looks like to an ordinary man, because a painter`s sensitivity uncovers the truths inside – beyond the ones that are visible. But in the end, the one and only principle of art is to reproduce what eyes can see. All other methods are disastrous no matter how harmful it could seem to the traders of aesthetics. There is no recipe for beautifying nature. What is important is – to be able to see.”
Different intellects have different attitudes towards modern art. Georgi Simov`s work will hardly fit the patterns of a particular stream, trend or an art school. His paintings will not suit the tastes of those who want still lives and flowers squirting with freshness and delicacy; those who want landscapes of vast spaces, steeped in pastoral idyll or revealing the unusual beauty of nature that surrounds us. They will not suit the tastes of those who would prefer seeing a woman reproduced as Madonna with all her anguishes and pains, presented by one of the greatest geniuses of the brush – Botticelli. The aesthetes who are entranced by Correggio and his dame sweetness will not be satisfied, as well as those deifying women in the paintings of Tiziano Vecelli, Rubens, Courbet filled with delicacy, gracefulness, the delicate texture of flesh – magnificent splendour and beauty, where light flows lightly, scarcely perceptible over the bodies, to better uncover this gift of nature. But Georgi Simov`s work has its own public. He is a painter from the end of the 20th C – a time in which Impressionism, Post-
K. Malevich drew his “black square” and he himself and many other painters hastened to proclaim the end of the art of painting. It seemed like everything was yet drawn and every new art would have been only a repetition. Despite all modern tendencies, infatuations, denials, etc. Georgi Simov chose to paint, to work with his own hand; to recreate on canvas his own feelings and thoughts in a distinctive way, worthy of the author`s frame of reference. Figured compositions predominate in the thematic-
The author does not abide by verisimilitudes and resemblance; he does not want to draw an outer form in a precise academic-
The way he arranges particular details in his still lifes – the thistles, weeds, crippled flowers – all this sharply replicates the fundamental environmental problems he treats, (“Still Life with a Thistle”, “Dried Flowers” etc.). In his suggestive paintings, in a complex but still clear and distinct way, he composes images and notions, moods and feelings. The close-
the artist`s soul and he shows us how the world in front of us gets deformed – slowly and unnoticeably; becomes perverted; how moral values collapse; how a sense of the ideas of whole generations breaks down.
Georgi Simov`s work is a cry for help – a cry towards the future or a cry as a warning. He leaves every one to choose on his/her own. The painter admonishes us to look closer at his paintings; to set aside the outer world – just for a moment – to half close our eyes in order to get concentration and to acknowledge fairly to our own selves whether we are good people, whether we have done something good. Why are we here? And if we continue to watch with indifference how some people eat themselves up, and how others destroy their fellow men, till when we will stay here, on this Earth?
Georgi Simov is a European painter. He is interested not only in problems of the regional but of the universal as well.
In the end I will dare quote the great Picasso who said: “I do not know if I am a good painter but I know I am a good drawer.”
And in my humble opinion, I am not sure how good a drawer Georgi Simov is, but I know he is a good painter.
© Dimitar Indjov, 1998 -