“Inspiring Spaces” Academia Gallery of the National Academy of Arts Sofia, 12th - 28th November 2014
Prof. Svilen Stefanov Ph.D
Presumably, a great deal can be said about the means of expression and pictorial language in the work of Alexander Kaprichev, about the skilful combinations created through the interaction of lines and brush strokes in his paintings, as well as his complex and expressive colour schemes. Good research has been made and written in this respect by some art critics. However, for some reason his art, remains underestimated to a certain extent. This fact could raise issues, much broader than 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 of new and contemporary Bulgarian art, because none of the periods of the twentieth century art and the 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 a course characteristic of the mainstream, ideologically motivated figurative art. Consequently, the idea of abstraction never enjoyed great popularity, not only because of the presence of the socialist realism doctrine, but also due to the complete lack of awareness of the concept of such an art form, in the then limited access to world art. The trend continues through to the 1960s and late 1980s, when innovative approach is traced only in the purely figurative plasticism. 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 express opposition 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 a country in which all graduates with specialised education considered themselves professionals, with certain visual skills, the objectless visual thinking still appeared rather strange.
Opposite page: “Untitled” Acrylic on paper, 212 x 150 cm, 2004-05
53