The most important thing for me is to find the impulse hidden in a particular object or theme. It's a bit like a "Eureka moment". Getting to that impulse is key, sometimes it takes a long time, sometimes it comes instantly. I collect objects that may sit unused for years, I look at them periodically and know there is something there, but I can't pinpoint exactly what until it's time to turn them into new work. Not all of them do of course, some of them gradually drop out of this periodic review process and go into storage.
Working with space, as an artist who graduated and teaches in the Mural Painting program at the National Academy of Fine Arts, is an important part of the process of building a specific work. In my independent projects I work with architecture, and until now I always plan in advance in a model and scale.
Due to the specific nature of working with found objects, and especially notebooks, books, etc. it makes sense that text would be an important part of my process. Sometimes given projects are linked to a specific text to which there is an artistic intervention in textual form and to top it all off they have a title and explanatory text. An example of this is the 2022 project "Zeitnot" realised in TAM Veliko Tarnovo's residency programme and linked to the protocols of the city's cultural activists club. Often, such projects turn into a nightmare for the viewer who thinks that the exhibition space is not a place for reading. In short, the place of text in image-making is important to me, and I don't shy away from using it liberally when I find it necessary.
I mentioned the "Eureka moment" above, it's always nice when that feeling is conveyed to the other side.
What exactly is the place of the research approach in contemporary art I could not say. In my opinion, it is in this engagement that lies an unpredictability that charges art and makes it open to different interpretations.
