Critique by Svilen Stefanov 
for
National Academy of Arts "AKADEMIA" Gallery 2014

Review on Inspiring Spaces Exhibition at the Academia Gallery, Sofia

Presumably, a great deal can be said about the means of expression and pictorial language in thework of Alexander Kaprichev, about the skilful combinations created through the interaction of linesand brush strokes in his paintings, as well as his complex and expressive colour schemes. Goodresearch has been made and written in this respect by some art critics. However, for some reasonhis art, remains underestimated to a certain extent. This fact could raise issues, much broaderthan those of the line and the coloured space in abstract painting.The problem is rooted in the overall understanding of abstraction as such in the development ofnew and contemporary Bulgarian art. Because none of the periods of the twentieth century art andthe artistic language in this country reveals the presence of the non-figurative.Moreover, since the middle of the last century, Bulgarian art, traditionally has developed following acourse characteristic of the mainstream, ideologically motivated figurative art. Consequently, the idea of abstraction never enjoyed great popularity, not only because of thepresence of the socialist realism doctrine, but also due to the complete lack of awareness of theconcept of such an art form, in the then limited access to world art. The trend continues through tothe 1960s and late 1980s, when innovative approach is traced only in the purely figurativeplasticism. Years later the art scene remained the same with only few exceptions.When political changes made their way in the country, one of the alluring opportunities to expressopposition turned to be abstract art which until then was considered an inconvenient art form.Yet, the very opportunity to create a non-figurative painting was limited. It seemed, somehow,devoid of the basic "common sense", lacking the practical concerns of social functioning. In acountry in which all graduates with specialised education considered themselves professionals,with certain visual skills, the objectless visual thinking still appeared rather strange.A characteristic feature of the local understanding of abstraction is that it is not thought of as an actof spontaneous action, or a way of finding means, or a "key" to involve the viewers’ consciousnessand sub-consciousness. In this country the abstract was generally interpreted as a continuation intackling certain plastic principles and problems related to the line, the splash and the colour -considered solely as a combination of all those formal elements.Thus for a long period of time, even fearful thinking of the abstract in Bulgarian art has beenrelated more to the non-figurative decorative art, rather than within the dimensions and impact ofidealism and spirituality, that this art form has been traditionally charged with since the appearanceof its classical examples in the early twentieth century.Alexander Kaprichev’s art is rather different from the above mentioned conclusions and that is whyit has entered an active phase of being shown and critically reviewed.The first thing that impresses us, is the author’s in depth knowledge of the history anddevelopment of abstract art. We can talk about a learned painting and knowledgeable abstraction.In modern times, that is the delicate divide between good and mediocre art. There is no way intoday’s world, overloaded with information, historical references, quotes and cross-references, toplay the role of an outsider, a simple and therefore, sincere artist.Kaprichev’s attitude towards art is clearly intellectual, charged with dynamic sensitivity expressedthrough the composition and colour. I am not certain which one should come first but then it hardlymatters.More important is that we see a unique artist thanks to the fact that he had not only felt the abstractas a combination of shapes and forms in space, but had found that specific spirit of intellectualknowledge which blended with his brilliant individuality. That is the very essence, the hiddenmeaning of abstract art - to stretch beyond the simple and logical and not to reflect only the ‘socio’ but primarily the individual empathy.

 

Prof. Svilen Stefanov Ph.D12 November 2014