All artworks by Vasil Stoyev
oil painting on board • 15 artworks
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Vassil Stoyev emerged in the artistic life of Bulgaria at a fortunate moment – when the ideologization[...]
Vassil Stoyev emerged in the artistic life of Bulgaria at a fortunate moment – when the ideologization of art had already been overcome and the artist had the freedom, though in a relative sense, to express through his paintings creative truths of his own. He did not have to fight against inveterate notions of the role of art, but was rather rendered the chance to quickly find his individuality. And he embraced this opportunity perfectly.
At first sight Vassil Stoyev’s works seem to be free, painted all in a breath, “sung”. This is certainly just one of their merits. But behind such a seeming ease of painting lies unsuspected constructive energy, which is best seen in the composition organization. Even when there are no figures at all, the picture structure is created by contrasts. Most often the free, even chaotic strokes, forming “an island” of texture in the middle of the canvas, are juxtaposed with relatively smooth one-colour surfaces. Another contrast results from the juxtaposition of bright and pastel single-shade spots. It is surprising how “dull” shades can become the source of intensive radiation, how the black and the grey can lose their chromatic neutrality and turn into deep colors. And finally, the sudden appearance of a contour line, one that does not draw, but rather marks a typical feature in a figure, stands out as a “graphic” accent on the painting magma. What lies at the heart of Vassil Stoyev’s paintings and determines his individuality is the effort to force a structure on the amorphous and make it meaningful.
The viewer senses in a tactile way the tension stemming from the contrasts in the painting; he follows the artist to live the drama of the conflict, which finds solution in a solid internal construction. This is what, in my opinion, fills the viewer with the energy the artist has put into his paintings. Thus, the viewer’s perception becomes more intensive and active. That is the reason why Vassil Stoyev’s pictures are by no means “comfortable furniture”, but rather energy spots in the interior, saturating the atmosphere with the agony and the ecstasy of a purely painting drama.
At first sight Vassil Stoyev’s works seem to be free, painted all in a breath, “sung”. This is certainly just one of their merits. But behind such a seeming ease of painting lies unsuspected constructive energy, which is best seen in the composition organization. Even when there are no figures at all, the picture structure is created by contrasts. Most often the free, even chaotic strokes, forming “an island” of texture in the middle of the canvas, are juxtaposed with relatively smooth one-colour surfaces. Another contrast results from the juxtaposition of bright and pastel single-shade spots. It is surprising how “dull” shades can become the source of intensive radiation, how the black and the grey can lose their chromatic neutrality and turn into deep colors. And finally, the sudden appearance of a contour line, one that does not draw, but rather marks a typical feature in a figure, stands out as a “graphic” accent on the painting magma. What lies at the heart of Vassil Stoyev’s paintings and determines his individuality is the effort to force a structure on the amorphous and make it meaningful.
The viewer senses in a tactile way the tension stemming from the contrasts in the painting; he follows the artist to live the drama of the conflict, which finds solution in a solid internal construction. This is what, in my opinion, fills the viewer with the energy the artist has put into his paintings. Thus, the viewer’s perception becomes more intensive and active. That is the reason why Vassil Stoyev’s pictures are by no means “comfortable furniture”, but rather energy spots in the interior, saturating the atmosphere with the agony and the ecstasy of a purely painting drama.
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