Thursday, 21 July 2016

INTERVIEW | Albena Mihaylova: Marble flames revisited

Albena Mihaylova with her
5years old daughter Sofia
in the premises of the
Greek Marble Initiative
Thursday, July 21st, 2016 - Albena Mihaylova is Bulgarian sculptor and painter born in Targovishte on 1966, now lives in Sofia and works both in Sofia and worldwide. She is a graduate of the College of Fine Arts and the Academy of Fine Arts, and holds a degree in Fresco and painting. She has shown her works in 14 solo exhibitions from 1995 till 2010 in Bulgaria, Germany and UK. In addition, she has participated in several group exhibitions worldwide; among them she has shown her works in Germany, UK, Switzerland, USA. Mihaylova joined the Greek Marble Initiative during its first Symposium, in the summer of 2013 and she is now an associated member. Her works have been awarded international prizes and can be found in Public and private collections worldwide.

Interview in Paris Kapralos

- When did you realize you want to be an artist? Was it sculpture from the beginning, or your served in some other genre of art first?
I never thought I will be an artist actually I was artist by spirit since I was very little.  I’ll tell you a story which made me an artist. Since I was 6 I was intending English lessons in one school twice a week.  I was about 11 years old when during the lesson our teacher asked who wants to draw the cover of the English book on the black board, next door class, because they will have a special visit. I raised my hand; I wanted to escape from the lesson. Later my teacher told my parents I have a drawing talent. She asked them if they want me to intend drawing lessons, because she can recommend me to a friend of her. I didn’t learn English well, but with a help of this lady I become an artist. I finished the High School of Art I wanted to be a painter. I was accepted painting at the National academy of Arts in Sofia. After one year of study I thought that will be very boring to study one and the same thing for 6 years, there was no challenge for me and I decided to move to different specialty – Monumental Art. Sculpture was not a love of first side, painting was my first love. Stone made me love the sculpture, like a love which comes later in life and stays forever.
A monumental sculpture of the "Flames" series, created during the 2nd
International Symposium of Marble Sculpture of the
Greek Marble Initiative in the summer of 2014,
in Souroti, Thessaloniki, Greece. 

- Please elaborate a little bit on the "Flame" sculptures...
“Flame” becomes a powerful symbol. That’s why  symbol has been adopted worldwide as an emblem for different events as Olympic Games, brands, commemoration and in art as adopted as an abstract perception, magic and power. I usually create the image of flame that grows from an ellipse, concentrates in the middle and spreading as small flames at the end - as an abstract replica from the nature but in marble. The marble should be well polished so when the light reflects on the stone, the viewer to have the filing that the flame is moving.

-Apart from the obvious, which other stages than the actual sculpting of the stone does the creation of a sculpture involve? How do you "study" your subject and what kind of preparation does it require?
Somehow my previous answer covers this question. I like to observe and to choose things from the nature of created by people who become a somehow symbols. Apart of my theme “Flame” research, I have Arch or Gateway sculpture theme which was very interesting for me when I started to make my research or study, starting from ancient times till nowadays. At the moment I study a new theme which I would like to keep as secret to the audience at the moment.

- Do you think there are things to be gained by your contact with other artists? Do you consider participating in more symposiums in the future?
Every contact not only with artist could enrich my persecution towards things. Living together with another artist-sculptor is a challenge and blessing at the same time. This helps me to see art also from his point of view and somehow this contributes to my art. I would like to participate to more, let’s say some symposiums at the future. My free time is in a good way limited from the care of my 5 years old daughter, and I prefer to choose symposiums where I can go with my family.

- How familiar are the people of your country with sculpture? Do they welcome the contemporary forms of sculpture? What is the degree that the tradition of your country influences your work?
People in my country are like people everywhere. Some of them welcome the contemporary forms of sculpture others don’t. Recently in the center of Sofia was placed a sculpture of Bulgarian King Samuil. The creative decision of the sculptor was that the eyes of the King to fluorescent during the night. In every kind of media was written why this κιτς is there and who allowed it to be there. Thousands of people are gathering together to see his eyes illuminated at night. The fact-good or bad is that this sculpture ”κιτς” is the most visited sculpture in Sofia.

- What different aspects of your creation of art does the painting covers which sculpture does not, and vice versa?
Both are inseparable part of me, but the approach is different. The presses of creating an oil painting is more relaxed, mistakes are changeable. I have big respect of stone. Creating one stone sculpture I have to be 100 % alert my senses has to be awake, because I can be easily hurt by the machines I work with. If I am not careful I cloud make mistake by cutting the stone not the way I want and this is not reparable and cause changing of the composition and initial idea.

- What would be your advice to a teenager who would tell you he/she wants to be a sculptor?
To be very patient, because ideas can come early in life but may come later. To study very well the working techniques. If he/she chooses to work in stone to treat the stone carefully as its very precious crystal vase which can be damaged easily.

EDITO | Ο ρόλος και η επίδραση του Εικαστικού Επιμελητή

Ο γράφων, ως επιμελητής της έκθεσης
του ζωγράφου Μιχάλη Τσίνογλου
στην Myrό Gallery, τον Οκτώβριο του 2016,
στην διάρκεια του στησίματος,
φωτογραφημένος από τον ίδιο τον καλλιτέχνη.
©Φωτογραφία: Μιχάλης Τσίνογλου,
All rights reserved, 2016.

Ο ρόλος του Επιμελητή και της εικαστικής επιμέλειας έχει παραμείνει σε ένα καθεστώς θολής αιώρησης στο κενό στην Ελλάδα σήμερα, με αποτέλεσμα πολλά να λέγονται, λίγα να γράφονται και σε πολλές ασυμφωνίες να οδηγούν. Συνεπώς σε αυτό το άρθρο θεωρώ άστοχο να ασχοληθώ με το τι είναι και τι δεν είναι Επιμέλεια -όπως άλλωστε θα ήταν εξίσου άστοχο να ασχοληθεί κάποιος με το τι είναι και τι δεν είναι Τέχνη. Θα ασχοληθώ με το τι μπορεί να κάνει ο Επιμελητής σήμερα και τι μπορεί να περιμένει καθένας από αυτόν στην Ελλάδα· διότι η αποτελεσματικότητα κάθε επαγγελματικής ενασχόλησης, δεν είναι διάφορη από τις δυνατότητες του ευρύτερου χώρου της  Τέχνης και την ωρίμανση του χρόνου που λαμβάνει χώρα η δραστηριότητα.

Ορισμένως, ο ρόλος της Επιμέλειας είναι να φροντίζει για μια ορθή πρόσληψη του συνόλου του εννοιολογικού περιεχομένου μιας έκθεσης αδιαχώριστα μαζί με τις αισθητικές επιλογές και τα επιδραστικά στοιχεία που επιλέγει για τα έργα του ο καλλιτέχνης απευθυνόμενος στο κοινό του, ειδικό ή/και γενικό. Ο  ρόλος της Επιμέλειας μιας σειράς έργων περιλαμβάνει την Έκθεση και Τεκμηρίωση τους με στόχο την καλύτερη πρόσληψη τους από το γενικότερο, και όχι μόνο το στενοκέφαλα εννοούμενο σαν  “φιλότεχνο” κοινό. Σε αυτό το σημείο ο ρόλος του Επιμελητή είναι καίριος, καθώς ουσιαστικά χτίζει γέφυρες και εισάγει στην ουσία του έργου του καλλιτέχνη και των έργων που αποτελούν την Έκθεση τους θεατές του με το Επιμελητικό Κείμενο. Πέραν του Επιμελητικού Κειμένου,  σημαντική θεωρείται η Επιλογή Έργων που θα εκτεθούν και η Χωροθεσία των έργων Τέχνης στον δεδομένο χώρο της έκθεσης. Σε ορισμένες περιπτώσεις το ύφος ή/και το περιεχόμενο έργων που έχουν παραχθεί την ίδια χρονική περίοδο δεν εντάσσονται αρμονικά σε μια σειρά έργων που δημιουργήθηκε την ίδια περίοδο, συνεπώς η έκθεση τους τείνει να αποπροσανατολίζει ή να αντιτίθεται στο “σώμα” της σειράς, οπότε η συνέκθεση με τα υπόλοιπα έργα κρίνεται από την Επιμελητή ότι θα συμβάλλει αρνητικά στην πρόσληψη των έργων του καλλιτέχνη· τότε τα συγκεκριμένα έργα αποβάλλονται από την ύλη της έκθεσης. Ακολουθεί η Χωροθεσία των έργων τέχνης. Στον αντίποδα, ο καλλιτέχνης βρίσκεται συχνά σε μειονεκτική θέση ως προς την χωροθέτηση της έκθεσης του για ψυχολογικούς λόγους που σχετίζονται με αυτό που ξέρει για τα έργα έναντι της πρόσληψης τους από έναν λιγότερο διαμεσολαβημένο θεατή. Επιπρόσθετα θεωρείται σημαντικό αφενός να περιοριστεί η “συνομιλία” των έργων με δομικά στοιχεία του χώρου, αφετέρου η παρουσίαση τους να είναι ισορροπημένη, και, συχνά, να εκφέρεται αρμονικά ως προς  την θέαση του.

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