Reconstruction – The Paper ‘98
The notion about paper takes us without any bias to man’s historical development. Its internally inherent part involved with his manner of living and his spiritual maturing is so significant, just like the clay, making it possible for the first utensils and idols to be created. Paper has provided the first touch with the spiritual in the dawn of human life – just like a book or a child’s drawing. But suddenly in the hands of the artist quite a different thing happens-it ceases to be just a bearer of an image or a symbol and it turns itself into a means of expression; it becomes a substance; it starts quite independently a life of its own , taken away from its conventional context. It goes off its two-dimensionally defined character.
That is why it is not just accidental that the key word in “making” at plein-airs should be the “experiment”. Here, especially in the first events of the plein-air too much space has been allocated to the actions, performances, installations. The activity turns from “making” into “an action” where the very artist becomes part of his own work of art and it takes place in a context, including the paper not only for the sake of appearances but rendering it some meaning. The experiment involves mastering of untypical spaces, in the search of new and richer relieves, in the “reconstruction” of the whole technological development of the manual paper. It gives us an explanation why in this really magical process (from stirring of the paper pulp up to the complicated voluminous –plastic resolutions) it should be a temptation for all, from black-and-white artists and painters to sculptors and textile artists.
Verzhiniya Markarova, Vladimir Ovcharov, Penka Dimitrova, Natalja Zaloznaya, Nedko Nedkov, Nadine Debay, Evelina Handzhieva, Milko Pavlov, Simion Zamsa, Elena Karacentseva – Kara, Emil Mirazchiev, Atanas Parushev – these are the participants in the third plein-air “The Paper” 1988, organized by Dobrich Art Gallery, that has already become a tradition.