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It seems as though the history of human culture is presenting art mainly in terms of a temptation, a dazzling temptation in which every part of the whole is a feeling and not a story.

We could not know when and how the painter Georgе Simov  was standing in front of his easel but certainly we understand at least one part of what he had experienced. We discern images which even he does not suspect of  having dawned on him. We can see colorful or linear rhythms, terse or loquacious movements, delicate or rough paint structures presenting us not „the visible reality“ but the wonders of the world of colors and shapes. They dip us into the sensation of a novelty, of the enchantment of what cannot be explained and an exaltation of the beautiful.

The power of such an expression lies in the aesthetics and lightness of its universal language. The particular plots and readable personages are idealized in an elegant manner, presented by the sheer excitement of the soul. It combines an interest towards a technological improvement by evolving the gesture, enriching the texture and the form, building the composition on a game-like principle. The powerful stylization imparts a fairy-tale, metaphoric character and a ritual signification of the forms. The emphasized graphic approach takes them out of the concreteness and creates a new material reality, not typical for the classical understanding of painting.

In a particularly special way Georgе Simov makes his characters turn their eyes on themselves, in an eternal day. The characters are speechless, surrounded by silence, amid this silence the colors sparkle brighter and the thoughts flow more slowly or they are missing completely. It takes a certain concentration and effort in order that one would be able to see the schemes inside, amid their intellectually and aesthetically set communication.        

In the very essence of Georgе Simov`s conception of the world stays his desire to meditate freely over some serious topics. His attempt to neatly order the world starts from the ostensible chaos and disorder, from the desire to feel like a creator of a new world, the world of his art. One of the ways to put the world in order is to arrange it according to the experience and imagination he has. It is an intellectual game of what is experienced, of announcing desires and intentions, of making an invitation for this or that magnificent form, for this or that wonderful color to be looked at.

And what do you think? Whether there is music and poetry in Georgе Simov`s painting? It is meant to be looked at, but the sound in it is born from the silence of which it has been created. It is a poetic world, because it is inhabited by female images having turned their back to the myth of the original sin. They live in a demonstrative manner on the coast line of the society, demonstrating that real life is that which is not present at the protocol of the everyday. There is also poetry in that special glance onto the landscape as being directed towards an impression of stylized forms and intensive colors that were born from the light.

Are there hidden messages here? With a taste to the artistic gesture, Georgе Simov`s work moves onto the direction from the figurative to the abstract giving of a meaning to the plot. The beauty in his paintings is being built upon over the object of portraying that has been turned into an artistic sign. The emphasized stylish author`s presence is more emotional than being analytical and more imaginary than realistic. Probably the plots have had a story but they reveal themselves through their artistic nature and through the subconscious suggestion of an existence. Similar to life, they are born each time with the individuality of every new work. The author is not trying to search for knowledge in his favorite theme, he is always inside it and this shapes the specific relief of the feelings and the corrupted transparency of his decisions.

Georgе Simov is part of that generation of painters that was shaping the picture of Bulgarian art after that gradual receding of the „wave“ from the 70-s of the 20-th Century. They rejected the ideological aesthetics of the programmatic socialistic modernism and chose to join the world art tendencies quickly and unprepared, though quite emotionally. The flaws of this process both now and then are embodied in the following: free plagiarism and unintentional rediscovering of the form-shaping principles, yet having a historic prescription, seriousness euphoria and affected mannerism under the flag of the vanguard, and completely denying every hint of a succession. The advantages, which George Simov also uses, are in the very sensing of the freedom of the artistic person and shrugging off the burden of provincialism.         

In quite a competitive manner he has intensified his senses and skillfully coordinates his movements and actions in the contemporary, general, artistic mood. He understands that when he is painting, he is amid a thing that is alive.  

© Krasimir Linkov, 2011 - Art Critic, Director of City Art Gallery, Plovdiv