HOME BIOGRAPHY CRITIQUE GALLERY CONTACTS
Share on Facebook Share on Twitter Share on Google Bookmarks Share via e-mail Print

George Simov`s art bears the exceptional vitality of a person who is conscious of the world with all of his senses. His works, painting with oils and acrylics on a canvas and paper, aquarelle and different mixed techniques suggest confidence, provoke emotions, build up new worlds in the infinite zeal of our hectic life.

In the present catalogue, the author has chosen 41 works in which he presents his fairy-tale plots, telling about animals and birds, about still lifes; but in fact, it is about living nature, about the beauty of the naked body, about the reality that surrounds us, that hides memories, nostalgia, the fibres of our persistence, the fragments of our time, our hopes, biases, disillusionments and happy moments...

All painters have their own unique hand and style. The science of art criticism has classified fine art by periods of time and by stylistic characteristics. In the recent 150 years, the number of those styles and general artistic quests and findings have recieved plenty of names. Nowadays they are even more. The funny thing is that we, the art critics, are trying to assign each and every artist a place in one of this general groups that follow a certain trend. We are trying to give instructions and recommendations in order to be able somehow to arrange our perceptions about art`s development. Quite often things seem to be far easier. We simply have to sense the nature of every painter; to become part of their art and to present it to the public in the most comprehensible way.

The complexity of this presentation, of course, stems from the dynamics of time. A time which demands from the artists to get the fibres of the history, the nature of the styles created before them, the taste and the fashion of their time and above all, to be truthful to themselves.

I think that the author follows this maxim subjecting himself to the inner will of his own biased imagination. Biased against selfrespect, against self-requirements and against his own roads of self-perfection. His expressionistic abstract painting is tempted by suggestive, ecological and erotic themes and plots, all constructing the face of the painter, George Simov.

In the works of the present catalogue, he presents his skills in constructing a nonstandard composition on the contrast of calm backgrounds, and almost relief building up of its components – human and animal figures, birds and fishes, flowers and interiors, seasons, day and nights, and many more.

The two-dimensional plane of the canvas reflects a painting that relies on pure color values in the background, in the framework of which the partaking “personages” rivet the eyes of the viewer with their unusual structure of the art of form, built up by active color “puzzles.”

In a work, simple at first glance, called “Dry Flowers,” I find a plot in a row for a short story. In the center of the work, a figure of a Christmas tree could be read, rather a surovachka made of a cornel tree not yet burst into bloom, adorned with color woollen puffs. The gluttonous eye gulps down the gracefulness of that intertwined Bulgarian martenitsa, placed on the blossomed bough of the plumtree in the yard. There is yet something else – as if the whole figure is Andersen`s paper ballerina, happily smiling to her tin soldier, spinning around in her dance on the pink stage. And in fact, the dried flowers come back to life in this constructed with ease and delicacy work, in which again you can sense the endlessness.

In “The Vase With Yellow Daisies” you are delighted by the color glaze of the lines, the delicate translucent background, the magic of reflections in the vase of glass, colors and outlines – light, cheerfully jingling – this is exactly a true, living still life.

In the construction of abstract landscapes and still lifes we can see an aspiration for establishing a core of subjects in the central part of the composition, again wrapped in a tranculecent or saturated background, contrasting with the accents of the core. In these compositions, no matter how they are called, we encounter the painter`s abillity to talk allegorically about the pollution of the environment, about birds and animals, that bear the beauty of the planet, about the celestial heavens, that surround us...

A work called “The Red Earth,” for example... Yes, the Earth itself is such in the autumn, in the burning fallow lands from the end of the summer, and slightly appears in a martian fashion, because we all delegate part of our hopes to the Time Machine. And somewhere in the distance of the lucent horizon floats in delicate clouds “the white sun of the desert.”

They are also part of “Blue Night”. In the bliss of a warm rainy night, the surrounding world has turned into a snail, that slowly creeps over its horizon bearing the houses, the street, the squares, the parks and the gardens of the whole town. A small nocturne with light white strokes of the brush reverberates in the soft stillness.    

George`s ability to artpaint allegorically inspires me, because it opens unexpected horizons in front of me. Leads me by the hand to the one and only rescue place in the Universe – to the Fantasy planet, to the Imagination star. It could be placed on the bottom of the ocean in that painting called “Aquaristics.” There, in the green translucence of the water, glitter the human traces in a heap of sunken times. In its construction, size and geometry have no meaning. These objects are sunken presents for someone, and they are an invariable part from the worldwide color of Time.

In the worldwide color of art the author does not omit the chance to reflect the favourite to all centuries genre – the Naked body, more famous as Erotic. All artist have their own paintings, shown and hidden ones, of sexual intercourses, love games, bashful courtships, full of bliss, passions, attraction... George`s erotic has more peculiar presence. His painting works with naked female bodies are odd in their own manner. The names of the several pictures herein presented, apparently a part of a big cycle, are connected with the colors of the sofas and chaise-longues on which the models are placed – the heroines in the play of their author. Starting with a dream, they have sunk into a Blue sorrow, a Blue sofa, a White chaise-lounge. These figures are not only naked bodies. These are women. As if arranged at a shop-window, perched as big naked birds in thier nests; they do not have the sweet painful delicacy, having thrown open gracefully and enticingly their knees, with their hands laid provokingly under loose hairs over the pillow. They are different. As if they are all part of Radichkov`s Tied Balloon, having gone through the moment of agitation when meeting the big “Tenets,” having sunk into the azure of darkness, when he went away, leaving the Loneliness to reverbeate inconsolably in the empty room.

The erotic paintings have a different flavour. They are part of the author`s amusement in those sweet moments of resting, when he liberates his body from the moment`s strain, pensively stared at the crystals in the glass with cold white wine... and almost mechanically scratches with a pen over the white sheet. And then the Drawings become slightly graphical, slightly colorful, the ladies are a little bit provocative, careless, neglige – drawn with a blissful lightness, with a little bit of irony and a peculiar loveliness. A different world, designed only for the Moment.   

George Simov`s art bears messages to all viewers. Because art is not a world of reflections only but also a world of dreams come true. And what more beautiful than that, when an artistic inspiration is able to provide for those who wish a surfboard on which they can drift themselves peacefully on the crest of their own wave - the wave of Hope.

  

© Svetla Moskova, 2010 - art critic