GALINA HRISTOVA
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The essence of existence – this very ancient phylosophy that questions human’s place in the Universe and thus complicates the individual’s burden of responsibility and belonging.
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Similarly to the Jungian theory of the Self, where the opposites in one’s personality constuct a whole of both inner and outer world, Galina Hristova is exploring the contradiction of instinct and behavioural pattern, the dualistic nature of human being awaken by the norms of rationalism against the echo of intuition, with the belief that self-knowledge, even though exciting but frightening, is the key to understanding the paradoxes and demoralization of our time.
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Figurative painting, Portrait, and Performance, often within set built to create a mise-en-scene, ‘talk’ about narrative which aims to engage psychological state, emotional intensity, surreallistic elements, and physical movement. Galina investigates psychological processes within the personality, emphasizing on the conflict, which often determines fundamental questions. Collision between certain choices – right and wrong, pure and viscous, fear and will – turns into an inner contradiction between rational and intuitive, established norms and instincts; leads to ambivalent behaviour, doubts, self-destruction, and reveals another ‘’self’’ of the personality.
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The idea of archetypes which coresponds with the theory of the collective conscious, tempts her to use the figure as e a metaphor of common psychological manifestations. Tho body is symbol – with its movement and expression. It bears abstract meaning and embodies weakness or strength, humility or struggle, confidence or uncertainty - expressed in Performance with a contrast between improvised and choreographed movement. The figure in my paintings exists between visible and invisible, real and surreal. Present and absent, it appears through translucent brushstrokes and vivid lines, which evolve in intense colour and detailed objects, talking about transformation and change, vulnerability and strength at the same time. The visual language is more laconic, the colour scheme is deliberately limited, the dramatism she is looking for ‘colder’ and faint, but thus more intriguing and mysterious.
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